Most large cities will have a Goethe Institute showing a variety of interesting movies or hosting talks. I suggest you look it up in your own city and see their event listings. It's mostly German media (great if you are learning) and cultural events.

Biography if Goethe (the related part) https://en.wikipedia.org/wiki/Johann_Wolfgang_von_Goethe#Eroticism

The fact that Goethe eroticised childhood in his work is not really that well known. But our protagonists know all of this stuff because they do their homework.

Goethe Institute hosted many artists in 2014 to ponder post-wall Germany. I picked out the biographies of the artists we know. The entire document is very interesting. Since our inquiry looks at how people present themselves, I scour the web for artist statements, biographies and interviews. They also thanked Joseph Wills and Scott Cummings (most likely for fabrication work.)

As a refresher, Nilay Lawson is an artist who publishes PandaHeadMagazine and Oliver Miller is the owner of Dr. Pong in Germany (said to be an inspiration for Comet Ping Pong). He also co-owns another restaurant close by with with James Alefantis. Scott and Joseph are the metal workers who created the metalwork structures inside Comet Ping Pong. All of them are listed on the Friends of Comet Ping Pong page.

Here is the PDF of the event. http://www.goethe.de/ins/us/was/pro/wall_in_our_heads/faltblatt.pdf

Oliver Miller (American, 1972–) Trained as an architect and artist, Oliver Miller builds functional environments of social collectivity and historical reflection in post– Wall Berlin. He first visited the city in 1993 while crisscrossing Europe by train. Amidst the swirling currents of historical change, Berlin’s sites of mundane transformation and its subtle pockmarks particularly intrigued him. Miller later studied architecture at Princeton University, influenced by Professor Alejandro Zaere-Polo. As a Masters student, , which Recreating Recreation Miller pursued a final project called would help him shape a leitmotif for many of his future undertakings on the interplay of cultural exchange and social practice aesthetics. Returning to Berlin in the early 2000s, Miller began holding unsanctioned ping pong parties in abandoned spaces in the former East Berlin, a common practice amidst other cultural activations in forlorn ruins and unoccupied structures. Under the moniker Dr. Pong, Miller fused theory and his architectural training with an intervention into the evolving landscape of the city. He set up shop in an abandoned grocery store near the former Wall on Eberswalderstrasse in Prenzaluer Berg. He marked the entrance for those in the know with a makeshift sign on the door, using vinyl letters from an American hardware store. After gaining a sizeable following, Miller decided to remain in Berlin full-time as an expatriate. He eventually applied for a business license and gained the lease to the Dr. Pong property. Miller views his negotiation of German bureaucracy in the Wende period as part of his creative exploration of the city. He recalls, “Speaking German is for me a game and an experiment, a game that I want to win at, but an experiment I expect to learn the truth from through a process of trial and error.” Miller continues to live in Berlin, where Dr. Pong sustains as a cultural mainstay, currently located within footsteps of the popular Mauerpark flea market. In 2010, Miller extended his own work on post-Wall Berlin in a special issue of the architectural journal Disko, co-edited with Daniel Schwaag and Ian Warner. The trio focuses on the area of the “new death strip,” in a series of critical essays on the infamous and now redeveloped middle fault line of the city. Miller and his colleagues weigh the overlay of historical haunting and newly sprouted architecture (some spectacular, some banal) in the former death strip of the Berlin Wall.

Nilay Lawson (American, 1980–) Born in Würzburg, West Germany, to an American serviceman and Turkish mother, Nilay Lawson was raised on and around U.S. Army bases throughout her childhood. Working across a range of media, including paint, sound, and video installation, she draws on her personal history of Cold War transnational crossings. She aims to render intimate exchanges and critical musings on matters of public expression and identity. Here, Lawson sets out to mark the moment in her third grade classroom when she encountered a piece of the Berlin Wall during a session of “Show and Tell” – at once her final encounter with the Wall known to her as a consequential force of her upbringing and her first experience with it as a souvenir. Lawson recalls, “He stood directly in front of me with that chunk while talking about how he acquired it from his father. I was aware of the great impact of the Wall coming down through the intense reactions of all the adults around me and the inherent feeling of fear of living in Europe through the Cold War.” Lawson recreates the moment of her classmate’s reveal in a painted reformulation of her memory. Further, Lawson searched through her family’s VHS tape archive from before and after 1989, a mode of retrieval that she imagines as central to her creative process. She selected highlights out of this trove of home video footage, including a family performance with her sisters in which they all wear American military garb, and several other intrusions of geopolitics into her home space. She offers these edited clips as a projection onto her painted wall chunk, and intersperses them with glimpses of the mundane walls that she views on daily walks near her studio in Los Angeles. She contends, “This combination of video and painting recreates the magic of cinematic projection. That magic seals the weight of what it was like to be present and alive as a child during that unsteady time in global history.