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HUMOR NACH #METOO NACH HUMOR Cordula Ditz, Get Out, 2019 Chris Hegedus & D.A. Pennebaker, Town Bloody Hall, 1979, © Janusfilms 27.6 .—16.08.2020 HUMOR NACH #METOO HUMOR NACH Cordula Ditz, Get Out, 2019 2 BEING LAID UP WAS NO EXCUSE FOR NOT MAKING ART HUMOR NACH #METOO 26.6 - 16.8.2020 3 EINFÜHRUNG Humor und #MeToo sind zwei Begriffe, Situation finden, ohne auf beiden Seiten an den die gerade im Zusammenspiel Irritationen alten Dogmen und Kampfplätzen festzuhalten. hervorrufen. Den vermeintlichen Kampfbegriff Humor ist ein soziales Schmiermittel, es #MeToo möchten viele nicht mehr hören und verbindet, hebt die Stimmung und lässt uns überhaupt, was hat das Ganze eigentlich mit schmunzeln. Humor zu tun? Wir bedanken uns ganz herzlich bei allen Der #MeToo-Bewegung ging es nie darum, Beteiligten für die engagierte Mitarbeit. einen Teil der Gesellschaft gewaltsam zu diskreditieren. Es ging immer darum, das Maike Mia Höhne und Bettina Steinbrügge Bewusstsein für die Prävalenz und die schädlichen Auswirkungen sexueller Gewalt zu schärfen. Und es geht bis heute darum, Veränderungen zu schaffen und darauf hinzuweisen, was strukturell in unserer Gesellschaft – selbst im alltäglichsten Miteinander – falsch läuft und wie daraus ein Ungleichgewicht für den weiblichen Teil der Gesellschaft entsteht. Die Notwendigkeit der Veränderung lässt sich auch für den strukturellen Rassismus und heteronormative Diskurse konstatieren. Wann immer es darum geht, gesellschaftliche Strukturen zu diskutieren und zu verändern, werden Konfliktlinien schmerzlich offenbart, spalten sich die Meinungen, stehen sich die unterschiedlichen Gruppen scheinbar unversöhnlich gegenüber. Wir müssen begreifen, dass sich unsere Welt verändert und wir Teil dieser Veränderung auf allen Ebenen sein müssen. Die Überlegenheitsvorstellungen des (weißen) Mannes, der Märkte, die scheinbar angeborene Zuteilung eines Platzes in der Hierarchie – alles steht derzeit zur Disposition. Der Angst vor Veränderung, der Angst vor Machtverlust kann man unserer Meinung nach am besten mit Humor begegnen. So versuchen wir den Dialog mit der Einbindung von Humor weiterzuführen. Humor ist die Fähigkeit und Bereitschaft, auf bestimmte Dinge heiter und gelassen zu reagieren, über die eigenen Fehler zu lachen und ihnen somit auch zu begegnen. Mit Humor können wir eine neue Gesprächskultur aufbauen und einen Umgang mit der neuen 4 INTRODUCTION Humor and #MeToo are two terms that cause irritation, especially when they are combined. Many people don‘t want to hear the supposed fighting term #MeToo anymore and what does it all have to do with humor? The #MeToo movement was never about forcibly discrediting any part of society. It has always been about raising awareness of the prevalence and pernicious impact of sexual violence. And it is still about creating change and pointing out what is structurally wrong in our society – even in the most everyday interaction – and how this creates an imbalance for the female part of society. The need for change can also be seen in structural racism and heteronormative discourses. Whenever social structures need to be discussed and changed, lines of conflict are painfully revealed, opinions divide, and the different groups are apparently irreconcilable. We have to understand that our world is changing and we have to be part of this change at all levels. The ideas of superiority of the (white) man, the markets, the apparent innate allocation of a place in the hierarchy - everything is currently at stake. In our opinion, fear of change and fear of loss of power can best be countered with humor. Humor is the ability and willingness to react cheerfully and calmly to certain things, to laugh at one‘s own mistakes and thus to counter them. With humor we can build up a new culture of conversation and find a way of dealing with the new situation without clinging to old dogmas and battlefields on both sides. Humor is a social lubricant, it connects, lifts the mood and makes us smile. We would like to thank all those involved for their committed cooperation. Maike Mia Höhne and Bettina Steinbrügge 5 SARAH ABU ABDALLAH DÖRTE F. MEYER PAULINE CURNIER JARDIN D.A. PENNEBAKER KATRINA DASCHNER LAURE PROUVOST NAZLI DINÇEL JENNIFER REEDER CORDULA DITZ KATHRIN RESETARITS VALIE EXPORT PIPILOTTI RIST CHRIS HEGEDUS ISABELLA ROSSELLINI LUISE HELM SUSANNE SACHSSE FABIAN HESSE JODY SHAPIRO KERSTIN HONEIT VANESSA STERN SARAH JACOBSON BETTINA STUCKY RP KAHL JESSICA SWALE MATT KAZMANN ATHINA RACHEL TSANGARI HELENE KUMMER TATJANA TURANSKYJ 6 HUMOR NACH #METOO HUMOR POST- #METOO 27.6. – 16.8.2020 6/27 – 8/16/2020 In Kooperation mit dem Kurzfilm Festival In cooperation with Kurzfilm Festival Hamburg, Hamburg, ARTE / ZDF, DFM, Alberto ARTE / ZDF, DFM, Alberto Herskovits & Tove Herskovits & Tove Torbiörnsson Torbiörnsson (†) Der Dokumentarfilm Town Bloody Hall (1979) Chris Hegedus and D.A. Pennebaker’s von Chris Hegedus und D.A. Pennebaker ist der documentary Town Bloody Hall (1979) is the Ausgangspunkt unserer Überlegungen, die wir in starting point for our examination, which we Zusammenarbeit mit Maike Mia Höhne (Kurzfilm developed in cooperation with Maike Mia Höhne Festival Hamburg) entwickelt haben. Norman (Kurzfilm Festival Hamburg). In the New Yorker Mailer moderierte im New Yorker Performance Performance Theater, Norman Mailer moderates Theater eine Diskussionsrunde zum Thema A a debate on the topic A Dialogue on Women’s Dialogue on Women’s Liberation, umgeben von Liberation joined by feminists like Germaine Feministinnen wie Germaine Greer und Susan Greer and Susan Sontag. An agitated man who Sontag. Mailer, ein aufgeregter Mann, der den had also commissioned the film, Mailer stands Film auch in Auftrag gegeben hatte, steht im at the center of the dialogue as they debate the Zentrum der Auseinandersetzung. Verhandelt aspirations of the women’s movement in the early werden die Ansprüche der Frauenbewegung 1970s. Anfang der 1970er Jahre. The first chapter of the exhibition series BEING Das erste Kapitel der Ausstellungsserie LAID UP WAS NO EXCUSE FOR NOT BEING LAID UP WAS NO EXCUSE FOR NOT MAKING ART asks about the necessity of a MAKING ART fragt nach der Notwendigkeit cultural change, but without committing itself to eines Kulturwandels, ohne sich jedoch Dogmen dogmas. The linchpin is the very simple question: zu verschreiben. Dreh- und Angelpunkt ist What is actually funny and how do we carry on? die ganz simple Frage: Was ist eigentlich Humor Post-#MeToo: What do we want to laugh lustig und wie geht es weiter? - Humor nach about? How do we want to live with each other #MeToo: Worüber wollen wir lachen? Wie and what do we need to do so? In times of social möchten wir miteinander leben und was distancing, the question poses itself anew. In bedarf es dafür? Gerade auch in Zeiten von installations, film screenings, performances, and Kontaktbeschränkungen stellt sich diese talks about different generations, we will discuss Frage neu. In Installationen, Filmvorführungen, new forms of society that can now be created for Performances und Gesprächen über the future. We look for the unspoken. verschiedene Generationen hinaus möchten wir gemeinsam Gesellschaftsformen diskutieren, die sich vielleicht genau jetzt für die Zukunft gestalten lassen. Wir suchen nach dem Unausgesprochenen. 7 SARAH JACOBSON JENNIFER REEDER I WAS A TEENAGE SERIAL WHITE TRASH GIRL: LAW OF KILLER DESIRE #3 USA, 1993 USA, 1997 18 MIN. BLACK AND WHITE 25 MIN. COLOR ORIGINAL: 16MM ORIGINAL: VIDEO / SUPER 8 Mary war ein gutes Mädchen, bis sie sich entscheidet, all die „sexistischen Schweine“ zu Dieser Film ist Teil drei der White Trash Girl töten. Natürlich begegnet sie vielen davon, und - Reihe. Diese Episode zeigt Trelita, eine Sex- genießt es, sie zu töten. arbeiterin aus Chicana mit einem sie missbrau- chenden Chef und einem toten Freund (den sie Mary was a good girl until she decided to kill eventuell ermordet hat oder nicht). Dieser Film all the “sexist pigs“. She of course encounters legt nahe, dass alle Versuche, Unterdrückung many of which, and enjoys killing them. zu dekonstruieren oder zu überwinden, Rasse, Klasse und Gender gleichermaßen berück- Sarah Jacobson (1971 – 2004) war eine ame- sichtigen müssen. George Kuchar hat einen rikanische Filmregisseurin, Drehbuchautorin Gastauftritt in diesem Film. Ich schrieb, drehte, und Produzentin. Sie führte eine DIY Bewe- editierte und porträtierte wieder das White gung in den 1990er Jahren an, vermarktete Trash Girl in diesem Stück. ihre Arbeit mit ihrer Mutter und Produzentin Ruth Ellen Jacobson, sprach auf Festivals und This tape is part three of the White Trash Girl Events und schrieb über ihre Filme in zahlrei- series. This particular episode features Trelita, chen Publikationen. a Chicana sex worker with an abusive boss and a dead boyfriend (who she may or may not have Sarah Jacobson (1971 – 2004) was an Ame- murdered). This tape suggests that all attempts rican film director, screenwriter, and producer. to deconstruct/overcome oppression must She led a DIY movement in the 1990s, pro- regard race, class and gender equally. George moting and distributing her own work with her Kuchar makes a cameo appearance in this producer-mom, Ruth Ellen Jacobson, speaking tape. I wrote, shot, edited and again portrayed at festivals and events everywhere, and writing White Trash Girl in this piece. about film for a number of publications. 8 Jennifer Reeder (geb. 1971 in Ohio) ist eine Denkerinnen und Aktivistinnen erhielt: Jacqueli- US-amerikanische Künstlerin, Filmemacherin ne Ceballos, Germaine Greer, Jill Johnston und und Drehbuchautorin.
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