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Art As Resistance by Langer

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Art As Resistance by Langer Dokument1 21.10.1998 02:20 Uhr Seite 1 Bernd Langer Art as Resistance Placats · Paintings· Actions · Texts from the Initiative Kunst und Kampf (Art and Struggle) KUNST UND KAMPF KuK Gesch engl 20.10.1998 22:48 Uhr Seite 1 Art as Resistance Paintings · Placats · Actions · Texts from the Initiative Kunst und Kampf (Art and Struggle) KuK Gesch engl 20.10.1998 22:48 Uhr Seite 2 Die Deutsche Bibliothek - CIP-Einheitsaufnahme Langer, Bernd: Art as resistance : placats, paintings, actions, texts from the Initiative Kunst und Kampf (art and struggle) ; Kunst und Kampf / Bernd Langer. [Transl. by: Anti-Fascist Forum]. - 1. Engl. ed. - Gšttingen : Aktiv-Dr. und Verl., 1998 Einheitssacht.: Kunst als Widerstand <engl.> ISBN 3-932210-03-4 Copyright © 1998 by Bernd Langer | Kunst und Kampf AktivDruck & Verlag Lenglerner Straße 2 37079 Göttingen Phone ++49-(5 51) 6 70 65 Fax ++49-(5 51) 63 27 65 All rights reserved Cover and Design, Composing, Scans: Martin Groß Internet: http://www.puk.de interactive web-community for politics and culture e-Mail: [email protected] Translated by: Anti-Fascist Forum P.O. Box 6326, Stn. A Toronto, Ontario M5W 1P7 Canada Internet: http://burn.ucsd.edu/~aff/ e-Mail: [email protected] first English edition, November 1998 Langer, Bernd: Art as Resistance Paintings · Placats · Actions · Texts from the Initiative Kunst und Kampf Internet: http://www.puk.de/kuk/ e-Mail: [email protected] ISBN 3-932210-03-4 KuK Gesch engl 20.10.1998 22:48 Uhr Seite 3 Bernd Langer Art as Resistance Paintings · Placats · Actions · Texts from the Initiative Kunst und Kampf (Art and Struggle) Kunst und Kampf KuK Gesch engl 20.10.1998 22:48 Uhr Seite 4 Table of contents 5 Foreword Part 1 Chapter I ...................................................................................... 7–12 Red Flags in the Cold War Chapter II ................................................................................ 13–16 Economic Wonder and revolts Chapter III .............................................................................. 17–20 The New Left Chapter IV .............................................................................. 21–28 Armed groups Chapter V ................................................................................. 29–44 A fighting movement Chapter VI .............................................................................. 45–60 Autonomist Anti-Fascism Part 2 Chapter VII ............................................................................ 61–66 Art and struggle Chapter VIII .......................................................................... 67–68 The search for discovery Chapter IX .............................................................................. 69–70 The KuK symbols Chapter X ................................................................................. 71–72 The criminalization of KuK Chapter XI .............................................................................. 73–74 Surveillance while painting Chapter XII ............................................................................ 75–76 The exhibitions of KuK Part 3 Chapter XIV.........................................................................77–115 Descriptions of KuK posters Chapter XV........................................................................116–117 Overview of KuK posters Chapters: Complete works, Table of Abbreviations and Recommended Literature see the German edition. According to the German press law, there has to be one person taking legal responsibility for the publication. In order to avoid repression, former revolutionaries are often used as the responsible signatories. The person claiming responsibility is called V.i.S.d.P. – Some of die V.i.S.d.P.’s are explained. KuK Gesch engl 20.10.1998 22:48 Uhr Seite 5 Foreword Preliminary remark the autonomist movement in Germany in the The English translation of the book “Kunst als 1980s would be largely incomprehensible without Widerstand” was worked on since October 1997, some connection to previous developments of the when the German edition was published. Passages political resistance. That led to the decision to as well as lay-out are revised and updated. No include sections in the book on the history of the abridgements were done, but some newspaper resistance movement from 1945 until the present. articles and declarations of attacks were left out. That helps to create a new look at history, one “Art as Resistance” can be read independently of which clarifies the background of the autonomist the German edition. Remarks and references to movement. the German edition can be either ignored or There are big problems with statistical infor- understood as additional information. mation, for example just how many members there were in various communist organizations. Foreword All the literature available either doesn’t name any A little more than ten years ago, the Initiative Art figures or makes use of statistical information from and Struggle (KuK – ‘Kunst und Kampf’) was the state’s intelligence agency (the ‘Verfassungs- founded under the motto: “Long live anti-fascist, schutz’). That’s why the numbers in this book, antagonistic culture!” KuK represented a new poli- unless stated otherwise, are based on the state’s tical-artistic concept and saw itself as part of the intelligence reports for those years. As for the size autonomist movement. KuK turned its ideas into of demonstrations, newspaper articles or informa- reality primarily through the use of poster art. The tion from the organizers are used as sources. Useful resistance movement was shown in a very forward literature on the autonomist movement is hard to way, thereby creating a new, generally under- come by, especially with regards to autonomist standable aesthetic form. The very clear political anti-fascism. In this book, only sources from the statements which were made, resulted in continu- movement itself are cited. These texts are often in al criminalization. Only the semi-clandestine the form of discussion papers, flyers, or parts of structure of KuK, and other preventive measures, brochures, usually published anonymously. That’s made it possible that no people were ever convic- why this book does not have a complete Recom- ted of anything, despite the long list of criminali- mended Literature section. The sources of citati- zed posters which were created. ons are given in the text itself. The political and artistic efforts of KuK remain This book is a result of praxis and is designed to unique within the autonomist scene in Germany. aid in praxis. That helps to explain its form, and There is no other initiative like it. Over time, a why the ideas and terminology of the autonomist variety of artists participated in KuK. Two travel- scene are used. Two such terms should be explai- ling exhibitions were organized, displaying posters ned beforehand: The term “Three Continents” from the resistance and discussing leftist cultural (‘Trikont’) came about in the 1980s to describe the theory and the criminalization of political art in underdeveloped nations in Africa, Asia, and Latin Germany. During planning sessions for the first America. Also, the term “resistance” rather than travelling exhibition, the idea to produce a catalog “the left” is used in this book. The term “the left” was raised. Although this project wasn’t realized, a represents a spectrum which extends from social few brochures were produced over the years. After democrats all the way to autonomists. The word the wave of repression against Autonome Antifa “resistance”, however, is a term of struggle which (M) and KuK was withstood in 1996, the KuK only encompasses the militant movement. book project was started up once again. This book is the sum of more than ten years of The author of this book was born in 1960 and conflict with the criminalization of political art has been active in the autonomist movement since from the resistance in Germany and the fight 1977. Most of the events described in this book are against repression. It is a document and a call to based on personal experiences. action – not a swan’s song. One problem which arose while creating the book was how to present the political context Bernd Langer within which KuK was operating. A description of Göttingen, November 1998 KuK Gesch engl 20.10.1998 22:48 Uhr Seite 7 Chapter I Red flags in the Cold War World politics from 1945 to 1990 was forty- The first federal government, a right-wing five years in the shadows of the confrontation bet- conservative coalition under Konrad Adenauer ween the capitalist states of the West, led by the (CDU), was granted certain rights, but a fully USA, and the so called real existing socialist states, independent state, the Federal Republic of Germa- under the leadership of the Soviet Union. In the ny, didn’t quite exist at that time. The achievement ashes which the World War II had left behind, this of state sovereignty came with rearmament and the “East-West Conflict” determined political deve- creation of a West German army. Of course, these lopments and led to the Cold War starting at the quick changes came about as part of American end of the 1940s. foreign policy. At the end of the 1940s, the USA Neither the Soviet Union nor the Western was pursuing the policy of “roll back” against the powers had any interest in an economically streng- Soviet Union. In Europe, the creation of a West thened, sovereign Germany following 1945. But German army as part of NATO played a central neither side was willing to see its sphere
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