The Role of Programming in Interpreting LGBTQ Identities in Contemporary Art Museums
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70 Neue Filme Von ROSA VON PRAUNHEIM 70 Rosa Von Praunheim in DER FRÖHLICHE SERIENMÖRDER ROSAS WELT: 70 FILME
BASIS-FILM VERLEIH präsentiert ROSAS WELT 70 neue Filme von ROSA VON PRAUNHEIM 70 Rosa von Praunheim in DER FRÖHLICHE SERIENMÖRDER ROSAS WELT: 70 FILME Rosa von Praunheim präsentiert zu seinem 70. Ge- und im Fernsehen. Die lustvollen Erkundungen Rosa burtstag 70 neue Filme. Eine Gemeinschaftspro- von Praunheims geben Einblicke in das Leben unter- duktion mit dem Rundfunk Berlin-Brandenburg, schiedlichster Menschen in Berlin und Brandenburg, der Bundesrepublik, Polen, Lettland, Rumänien, Russ- in Zusammenarbeit mit arte, gefördert vom Me- land, der Schweiz, den USA und China. Praunheim, ein dienboard Berlin-Brandenburg und der Film- und Meister des Interviews, öffnet sie – ermöglicht dem Medienstiftung NRW. Zuschauer intensive Begegnungen mit Menschen, die “ganz normal” sind und “ganz anders”. Rosa von Praunheim ist eine Ikone in der Szene: Ein Praunheims eindringliche, sensible und geistreiche Wegbereiter, ein schwuler Aktivist. Und ein ganz be- filmische Handschrift versprechen subjektive, authen- sonderer Filmemacher aus Berlin. Ein großartiger Er- tische deutsche und internationale Lebens- und Sitten- zähler, ein liebevoller Provokateur. bilder. Am 25. November 2012 feiert der Grimme-Preisträger Die mediale Beachtung ist diesem charmant größen- seinen 70. Geburtstag. wahnsinnigen Unterfangen gewiss. Nach 70 Filmen, die der große deutsche Filmemacher bisher vorgelegt hat, arbeitet Rosa von Praunheim an Die einzelnen Filme lassen ein facettenreiches Kalei- einem einzigartigen Projekt: Zusammen mit Arte und doskop aus Porträts, Lebens- und Sittenbildern entste- dem Rundfunk Berlin-Brandenburg wird er zu seinem hen. Neben dem Film über den Berliner Preußenpark 70sten 70 neue Filme vorlegen! Das ehrgeizige Projekt wird das Porträt einer Brandenburger Familie stehen. hat Potential für ein filmisches Event. Auf der Leinwand Etliche Filme haben eine große Leichtigkeit, einige sind sehr intensiv und anspruchsvoll (und eher für die späte eine Ausstellung zu Rosas Filmen unter dem Titel Ro- Stunde). -
WER IST HELENE SCHWARZ? Berlinale Special WHO IS HELENE SCHWARZ? QUI EST HELENE SCHWARZ? Regie: Rosa Von Praunheim
IFB 2005 WER IST HELENE SCHWARZ? Berlinale Special WHO IS HELENE SCHWARZ? QUI EST HELENE SCHWARZ? Regie: Rosa von Praunheim Deutschland 2004 Dokumentarfilm mit Helene Schwarz Länge 85 Min. Reinhard Hauff Format Digi Beta Michael Ballhaus Farbe Gerd Conradt Thomas Giefer Stabliste Peter Lilienthal Buch Rosa von Praunheim Helke Sander Kamera Lorenz Haarmann Harun Farocki Schnitt Mike Shephard Claudia Karohs Online-Schnitt Oskar Kammerer Hans-Otto Krüger Ton Lilly Grote Hans Helmut Prinzler Produzent Rosa von Praunheim Wolfgang Becker Redaktion Martin Pieper Helga Reidemeister Co-Produktion ZDF/Arte, Mainz Manfred Stelzer Lilly Grote Produktion Thomas Schadt Rosa von Praunheim Film Wilma Pradetto Konstanzer Str. 56 Detlev Buck D-10707 Berlin Drago Hari Tel.: 030-883 54 96 Volker Schlöndorff Fax: 030-881 29 58 Christian Petzold [email protected] Tom Tykwer Chris Kraus Weltvertrieb noch offen Helene Schwarz WER IST HELENE SCHWARZ? Wer ist Helene Schwarz? Nur Eingeweihte kennen sie, die am 13. Februar 1966 als Sekretärin an der Deutschen Film- und Fernsehakademie (DFFB) in Berlin begann und heute, mit 78 Jahren, immer noch als Studienberaterin und Muse tätig ist. Berühmte Namen pflastern ihren Weg – darunter der Hollywood-Regisseur Wolfgang Petersen, das spätere RAF-Mitglied Holger Meins sowie die Regis- seure Wolfgang Becker, Detlev Buck und Christian Petzold, die sich gern daran erinnern, wie sie im Büro von Helene alle Sorgen vergaßen, wenn sie dort Kaffee tranken und ihr Herz ausschütten durften. Helene wurde Freun- din und Beraterin von inzwischen unzähligen Filmstudenten. Das Besondere an Helene ist ihre Herzlichkeit, die wirklich jeden, der ihr be- gegnet, in ihren Bann zieht – auch mich, der ich Ende der 1960er Jahre ge- meinsam mit Werner Schroeter und Rainer Werner Fassbinder an der Aka- demie abgelehnt wurde, aber Helene treu geblieben bin. -
David Wojnarowicz and the Surge of Nuances. Modifying Aesthetic Judgment with the Influx of Knowledge
David Wojnarowicz and the Surge of Nuances. Modifying Aesthetic Judgment with the Influx of Knowledge Author Affiliation Paul R. Abramson & University of California, Tania L. Abramson Los Angeles Abstract: Learning that an artist was a victim of inconceivable torment is critical to how their artworks are experienced. Forced as it were to absorb the wretched demons from the here and now, artists such as David Wojnarowicz have implau- sibly found the resolve to depict this adversity, and its psychological detritus, in their singularly creative manners. Recognised for his autobiographical writings no less than his artwork, Wojnarowicz is especially admired for his sheer defiance of conventional life scripts, and his fortitude in the face of adversity in the circum- scribed world of imaginative constructions. Arthur Rimbaud in New York, A Fire in My Belly, and Wind (for Peter Hujar) for example. The enduring value of his artwork, inextricably enhanced by his diaries and essays, is that they simultane- ously provide a narrative portal into the untangling of his inner life, as well as fundamentally influence how these works are perceived. When looking at two paintings, ostensibly by Rembrandt, is there an aesthetic difference in how these paintings are experienced if we know that one of the two paintings is a forgery? Most certainly, declared Nelson Goodman, who noted that this bit of knowledge ‘makes the consequent demands that modify and differentiate my present experience in looking at the two [Rembrandt] paintings’.1 Is that also true about depictions of Christ on the cross? Does knowledge of Christ’s story alter how Michelangelo’s Christ on the Cross is experienced? If what we know, or think we know, has the capacity to ultimately influence © Aesthetic Investigations Vol 3, No 1 (2020), 146-157 Paul R. -
David Wojnarowicz. History Keeps Me Awake at Night
David Wojnarowicz. History Keeps Me Awake at Night DATES: 29 May – 30 September, 2019 PLACE: Sabatini Building, Floor 1 ORGANIZATION: Whitney Museum of American Art, New York, in collaboration with the Museo Reina Sofia, Madrid, and the Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean, Luxembourg CURATORSHIP: David Breslin and David Kiehl COORDINATION: Rafael García TOUR: Whitney Museum of American Art, Nueva York: 13 July– 30 September, 2018 Museo Reina Sofía, Madrid: 29 May – September 30, 2019 Mudam Luxembourg - Musée d’Art Moderne Grand-Duc Jean, Luxemburg: 26 October, 2019 – 2 February 2020 The exhibition David Wojnarowicz. History Keeps Me Awake at Night is the first major review of the multifaceted creative work of the artist, writer and activist David Wojnarowicz (New Jersey, 1954-New York, 1992) since the 1999 exhibition at the New Museum in New York and the 2012 publication of Fire in the Belly: The Life and Times of David Wojnarowicz, his Cynthia Carr's detailed biography. This major retrospective, organized by the Whitney Museum of American Art in New York in collaboration with the Reina Sofia Museum and the Mudam Luxembourg - Musée d'Art Moderne Grand-Duc Jean, not only examines the plurality of styles and media that the artist displayed in his practice, but also relates his work to the political, social and artistic context of New York in the 1980s and early 1990s. That was a time marked by economic uncertainty and the terrible AIDS epidemic, but also by creative energy and a series of profound cultural changes: the intersection of different movements - graffiti, new wave and no wave music, conceptual photography, performance and neo-expressionist painting - turned the American city into an artistic laboratory for innovation. -
DAVID WOJNAROWICZ (1954–1992) B
DAVID WOJNAROWICZ (1954–1992) b. 1954, Red Bank, NJ d. 1992, New York, NY SOLO EXHIBITIONS 2020 I is Someone Else, Morán Morán, Los Angeles CA David Wojnarowicz, Photography & Film, Morris and Helen Belkin Art Gallery, Vancouver, BC 2019 History Keeps Me Awake at Night, Museum Reina Sofia, Madrid David Wojnarowicz, Photography & Film, Kunst-Werke Institute for Contemporary Art, Berlin 2018 History Keeps Me Awake at Night, The Whitney Museum of American Art, New York, NY Soon All This Will be Picturesque Ruins: The Installations of David Wojnarowicz, P·P·O·W, New York, NY David Wojnarowicz: Video and Photography, KW Institute for Contemporary Art, Berlin, Germany. David Wojnarowicz: Flesh of My Flesh, Iceberg Projects, Chicago, IL 2016 Raging Through: The Art of David Wojnarowicz, Zimmerli Art Museum, Rutgers University, New Brunswick, NJ 2011 Spirituality, P·P·O·W, New York, NY 2009 David Wojnarowicz, Supportico Lopez, Berlin, Germany 2006 Rimbaud in New York, CABINET, London, England David Wojnarowicz, Between Bridges, London, England 2004 Out of Silence: Artworks with Original Text by David Wojnarowicz, P·P·O·W, New York, NY David Wojnarowicz: Rimbaud in New York, Roth Horowitz Gallery, New York, NY Close Up sur David Wojnarowicz, Forum des Halles Espace Rencontres, Paris, France 2001 Featured Works VI: David Wojnarowicz: The Elements, Fire and Water, Earth and Wind, Krannert Art Museum, University of Illinois, Urbana-Champaign, IL 1999 Fever: The Art of David Wojnarowicz, New Museum, New York, NY David Wojnarowicz: The Boys Go Off -
Michael Bochow Political Activism and AIDS Activism Among Gay Men In
Michael Bochow Political Activism and AIDS Activism Among Gay Men in Berlin* 1. Preliminary Remarks This is not the sort of article that would be printed in the American Journal of Sociology. Some of the observations are deliberately presented in the form of hypotheses; had I included detailed explanations and irrefutable sociological arguments to support many of the hypotheses that follow, this article would have grown to at least three times its already considerable size. Nevertheless, I maintain that I have not betrayed my roots as a sociologist. Instead, I have simply refused to shrink away from adopting a more subjective style, akin to an essay, in making my case. 2. The Pre-War History of Germany’s Post-War Gay Movement The founding of the Wissenschaftlich-humanitäres Komitee (WhK: Scientific Humanitarian Committee) by Magnus Hirschfeld and other courageous individuals in Berlin in 1897 is generally viewed as the “acte fondateur” of the homosexual movement in German-speaking countries. It was preceded, however, by several decades of committed efforts by journalists, doctors and psychiatrists in Prussia and other German states, who had sought to improve the lot of those with a “contrary sexual persuasion”. In 1869, the Austro-Hungarian essayist Karl Maria Kertbeny coined the word “homosexual” to define same-sex attraction, an event which marked an early phase in the struggle for homosexuals’ rights (see for example Goodbye to Berlin 1997, Berlin Museum 1984). It was not until the start of the 20th century that the terms “homosexuality” and “homosexual” became more widespread. In the following text the term “homosexual” shall be used with reference to the period before 1950, even though this term was far from common at the time (and especially prior to 1920). -
Meine Mütter Kamera: Elfi Mikesch „Du Bist Nicht Mein Sohn“
ein Film von Rosa von Praunheim meine mütter Kamera: Elfi Mikesch „Du bist nicht mein Sohn“ Basis-Film Verleih Berlin www.basisfi lm.de Stabliste Buch und Regie Rosa von Praunheim Recherche Markus Tiarks Agnese Luse Kamera Elfi Mikesch Thomas Ladenburger Markus Tiarks Ton Manja Ebert Martin Brinins Musik Andreas Wolter Schnitt Mike Shephard gefördert von Medienboard Berlin-Brandenburg Jens Stubenrauch, rbb v.l.n.r. Thomas Ladenburger, Martin Brinins, Redaktion Elfi Mikesch, Rosa von Praunheim Esther Schapira, hr im Lettischen Filmarchiv Herstellungsleitung Martin Kruppe Produktion Rosa von Praunheim Filmproduktion in Zusammenarbeit mit dem Rundfunk Berlin-Brandenburg, Hessischer Rundfunk Verleih Basis-Film Verleih Berlin Inhalt Ich bin am 25. November 1942 in Riga, Lettland geboren und als Holger Mischwitzky in der Bundesrepublik Deutschland aufgewachsen. Im Jahre 2000 offenbarte mir meine damals 94-jährigen Mutter, dass ich nicht ihr Sohn sei. Sie hätte mich in Riga während der deutschen Besatzung in einem Kinderheim gefunden. Mehr sagte sie nicht. Die Spurensuche nach meinen beiden Müttern in Riga ist meine persönliche Geschichte. Im Jahr 2003 verstarb meine Mutter. Zuerst wollte ich nicht nach meiner leiblichen Mutter forschen, da ich eine liebevolle und tolerante Mutter gehabt hatte. Erst später erwachte meine Neugier. Doch ohne meinen richtigen Familiennamen schien die Suche zwecklos. Durch einen lettischen Journalisten fand ich Agnese Luse, die im Staatlichen Archiv Lettlands Erstaunliches herausfand. Ebenso erstaunlich war es, dass ich in Berlin tatsächlich meine richtige Geburtsurkunde fand. Darin stand, dass ich 1942 im Zentralgefängnis in Riga zur Welt gekommen war. Die Suche nach meiner richtigen Mutter beginnt. Werde ich sie oder ihre Familie fi nden? Kann ich etwas über meinen Vater herausfi nden? Ich entschliesse mich nach 63 Jahren nach Riga zu fl iegen und mich selbst auf die Spuren meiner beiden Mütter zu machen. -
Blunting the Knives: Disruption and Disintegration in the Life and Art of David Wojnarowicz
Broad Street Humanities Review, III Blunting the Knives: Disruption and Disintegration in the Life and Art of David Wojnarowicz Helena Aeberli Jesus College, Oxford 13th September 2020 1 Broad Street Humanities Review, III Blunting the Knives For David Wojnarowicz Perception’s broken mirror an umbrella of blacked out text against a newsprint of rain. New York at midnight. Windows gash mercury neon across broken boards the colour of premonitory ash. Your body moves under the shapeless garment of the moon. This darkroom mask — half-developed a luminary of silent touch, the dark-side stigma. Bodies find self-shaped craters. Your temple the shaved edge of a spoon the sirens of your skin wail. Manhattan washed with manmade moonlight. Sometimes you leave the city. Sometimes the city leaves you. In the photos your ears and forehead remain a boy’s the double exposure of chemical paint pooled on water. These things which brushes and touches and silver print cannot conceal. The hidden collarbone of moon. 2 Broad Street Humanities Review, III You stencil your own face into others; so this is posterity, the polyphonic self. 3 Broad Street Humanities Review, III Commentary In 1987 the multidisciplinary artist, writer, and activist David Wojnarowicz stands beside the bed of a dying man. The man is Peter Hujar, a photographer and Wojnarowicz’s closest friend, a onetime lover he describes as ‘my brother my father my emotional link to the world.’1 Finally, after ten months of battling against the disease which has slowly reduced his body to little more than cancer and bones, Hujar slips away. -
A Golden Age for Queer Sexual Politics? Lesbian and Gay Literature and Film in 1970S Germany Call for Papers
A Golden Age for Queer Sexual Politics? Lesbian and Gay Literature and Film in 1970s Germany Call for Papers The German Gay Liberation Movement began with a work of art. Rosa von Praunheim’s film It Is Not the Homosexual Who Is Perverse, But the Society in Which He Lives (1971) was the trigger for the formation of homosexual emancipation groups all over West Germany. With its fierce critique of the approaches to assimilation of the 1960s homophile movement and with its revolutionary impetus, the film marked itself as a threshold towards a new time of liberation. From the very start of the movement, women took part in the various emancipation groups. Nonetheless, gay men were dominating these groups. Since the early 1970s, homosexual women also formed up all-female lesbian groups, inspired by the women’s movement’s critique of the patriarchy. Verena Stefan’s book Häutungen (Shedding, 1975) played a substantial role in the process of shaping a political lesbian identity and eventually turned into a cult text of both the feminist and the lesbian movement. Historical accounts of gay liberation movements have often been presented in the form of a saga, as Scott Bravmann has pointed out in his 1997 book Queer Fictions of the Past. This certainly applies for the 1970s in Germany: the period between 1971 (Praunheim’s film) and 1982 (when the term AIDS was coined) has regularly been constructed as a Golden Age of German queer history. This view is dependent not only on the historic facts themselves, but also – and significantly – on the way in which they are narrated in works of art, both of the 1970s themselves and of our times. -
Mahlsdorf, Charlotte Von (1928-2002) by Claude J
Mahlsdorf, Charlotte von (1928-2002) by Claude J. Summers Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2006 glbtq, Inc. Reprinted from http://www.glbtq.com The cover of the Cleis The fascinating life of preservationist and museum founder Charlotte von Mahlsdorf Press edition of Charlotte von Mahlsdorf's has been the subject of an acclaimed autobiography, a film in which she played autobiography, I Am My herself, and a Pulitzer Prize- and Tony Award-winning play. Own Wife. Courtesy Cleis Press. A controversial figure who may have willingly supplied information to the East German secret police during the period of the German Democratic Republic, Mahlsdorf was nevertheless honored by the German government after reunification for her preservationist and museum work. She was admired by many for her bravery in the face of persecution and for her openness as a transgender public figure during perilous times. Mahlsdorf was born Lothar Berfelde on March 18, 1928 in Berlin. Biologically a male, even as a child she identified as a girl, displayed a fascination with girls' clothing and "old stuff," and preferred to play with "junk" rather than toys. These early interests presaged Lothar Berfelde's later emergence as Charlotte von Mahlsdorf, famous transvestite and collector of everyday historical objects. Preferring the term "transvestite" to "transsexual" since she felt no aversion to her male genitals, Mahlsdorf declared that "In my soul, I feel like a woman" and described her childish self as "a girl in a boy's body." Mahlsdorf's father, Max Berfelde, was a violent man who rose in the ranks of the Nazi party to become party leader in the Mahlsdorf area of Berlin. -
Luis Frangella / David Wojnarowicz
HAL BROMM GALLERY contact: Priya Parthasarathy 90 West Broadway at Chambers Street 212-732-6196 Tribeca New York 10007 [email protected] For Immediate Release: September 5, 2018 DESDE NEW YORK: LUIS FRANGELLA / DAVID WOJNAROWICZ 5 September - 21 December 2018 EXHIBITION FEATURING WORKS OF FRANGELLA AND WOJNAROWICZ, GAY ARTISTS AND LEADING FIGURES IN THE 1980s EAST VILLAGE ART SCENE, TO OPEN WEDNESDAY, 5 SEPTEMBER AT HAL BROMM GALLERY TRIBECA Luis Frangella and David Wojnarowicz, two artists with long histories at Hal Bromm Gallery, will be the subjects of a joint exhibition, DESDE NEW YORK: LUIS FRANGELLA / DAVID WOJNAROWICZ. The exhibition explains how the synergy of these two artists and their circle of friends influenced the 1980s contemporary art world. As artistic collaborators and close friends, Frangella and Wojnarowicz shared a unique relationship as mentor and protégé. Both artists died tragically of AIDS in the early nineties, but left rich bodies of work as a testament to their lives. Today the dialogue between their works transcends geographical, political and cultural boundaries and allows us to revisit the creative forces whose lives were extinguished by the still ongoing AIDS crisis. DESDE NEW YORK: LUIS FRANGELLA / DAVID WOJNAROWICZ is presented in collaboration with HIV Arts Network, a NYC-based non-profit providing free support services to individuals in the arts community living with and affected by HIV/AIDS. During the exhibition, HIV Arts Network will host a series of panel discussions at the gallery exploring the intersections of the HIV/AIDS epidemic, the 1980s contemporary art scene and the gay political landscape through the lives of Frangella and Wojnarowicz. -
Redalyc.Rosa Von Praunheim Y Las Políticas De Inclusión Ciudadana
Revista VIA IURIS ISSN: 1909-5759 [email protected] Fundación Universitaria Los Libertadores Colombia Millán de Benavides, Carmen Rosa Von Praunheim y las políticas de inclusión ciudadana Revista VIA IURIS, núm. 9, julio-diciembre, 2010, pp. 161-165 Fundación Universitaria Los Libertadores Bogotá, Colombia Disponible en: http://www.redalyc.org/articulo.oa?id=273919441008 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto ÁREA SOCIOJURÍDICA Y OTROS ARTÍCULOS * Rosa Von Praunheim y las políticas de inclusión ciudadana Rosa Von Praunheim Rosa Von Prauunheim and the y las políticas de politics for citizen inclusion inclusión ciudadana* Fecha de recepción: Junio 12 de 2010 Fecha de aceptación: Junio 22 de 2010 Carmen Millán de Benavides RESUMEN ABSTRACT El artículo presenta dos herramientas mediante las This article shows two tools through which the LGBT cuales las comunidades LGBT (lesbianas,gays, bi- communities, initially in Bogota, have entered in to the sexuales y transexuales), inicialmente en la ciudad de university agenda. The academic LGBT film exhibition Bogotá, han entrado en la agenda de las universida- and the strategic lawsuit. The first is promoted by the des. El Ciclo Rosa Académico y el litigio estratégico. El Pontifical Javeriana University and has already com- primero, promovido desde la Pontificia Universidad pleted ten years. In relation to the second, promoted Javeriana ha cumplido diez años en 2010 y en cuanto by the National and Andes Universities, has gained an al segundo, adelantado desde las universidades Na- important acknowledgement of rights.