Wolfgang Theis, curator. Rosa geht in Rente: Hommage zu Rosa von Praunheims 65. Geburtstag. Berlin: Schwules Museum, November 25, 2007 - March 31, 2008. Funded by the Deutsche Klassenlotterie and the Schwules Museum Reviewed by Bradley Boovy Published on H-German (June, 2009) Commissioned by Susan R. Boettcher Many Germans--and particularly those living To mark the director's sixty-fifth birthday and in Berlin--will likely have heard the name Rosa commemorate his prolific artistic production, the von Praunheim, although many may not realize Schwules Museum hosted an exhibition from No‐ that Rosa is a man. Some might recall the release vember 25, 2007 through March 31, 2008. Con‐ of his most famous flm, Nicht der Homosexuelle ceived and organized by curator Wolfgang Theis, ist pervers, sondern die Situation, in der er lebt one of the co-founders of the Museum in the (1971). The flm's premier at the 1971 Berlinale led 1980s, Rosa geht in Rente is the most recent in a to much debate, particularly among gay West Ger‐ series of homages to individuals who have played mans who felt attacked by Praunheim's call to po‐ significant roles in the constitution of gay culture litical action: "Raus aus den Toiletten, rein in die and history in Germany. Previous exhibitions Straßen." Yet, a number of activist groups were have been dedicated to Michel Foucault, Hilde‐ also founded in the wake of the flm, and Praun‐ gard Knef, Thomas Mann, and Rainer Werner heim quickly took center stage as the most visible Fassbinder, among others. This exhibition, funded spokesperson of gay liberation in 1970s West Ger‐ by the Deutsche Klassenlotterie and the Schwules many. While none of his later flms received as Museum, was given wide publicity in Berlin in much attention, Praunheim has remained in the magazines, posters, and postcards around the city public eye through activism; through his more and even on the Federal Republic's official than seventy documentary, polemical, short, and tourism website. A retrospective of sixty-five of feature flms, as well as through provocative me‐ Praunheim's flms at Berlin's Babylon Cinema in dia spots and television appearances. In 1991, for November and December 2007 helped to generate instance, he caused a media uproar when he out‐ enough buzz around Praunheim and his work to ed talk-show host Alfred Biolek, comedian and au‐ ensure a steady fow of visitors to the exhibit. Mr. thor Hape Kerkeling, and actor Götz George (the Theis commented that this was one of the best-vis‐ last of these, incorrectly) on the RTL program Ex‐ ited homages to date in the series; indeed, the plosiv--Der heiße Stuhl. In short, Praunheim has closing date was eventually extended by more time and again demonstrated his eagerness to than a month.[1] provoke public debate and thereby remain a topic Rosa geht in Rente was conceived as a the‐ of discussion in German media. matic installation in three rooms. Portrayed on H-Net Reviews the walls were different aspects of Praunheim's nate the topics at hand or provoke reflection. For work or glimpses into his biography. Most of the example, a series of stills from Praunheim's flms space in the two larger rooms was dedicated to was accompanied by a quote from a letter by topics that Praunheim has addressed in his flms, Mario Wirz: "Zum Teufel mit deinem Amerikasub‐ writings, and paintings: Magnus Hirschfeld's jektivismus, fnde dich damit ab, dass du nicht struggle to have Paragraph 175 removed from the Andy Warhol bist."[2] The line is in part a jab at penal code; gay liberation in the 1970s; HIV/AIDS; Praunheim, who often seems at least as interested the Berlin Tunten (queen, drag queen) scene. A in cultivating his public personality as he is in ac‐ smaller, third room focused more explicitly on the tivism and flmmaking. More importantly, howev‐ intersections of Praunheim's private life and his er, the quote hints at issues that repeatedly work. On display were photographs with friends emerge in discussions of Praunheim's work-- and partners, excerpts from his diaries, and namely, how it should be categorized. Interest in copies of his most autobiographical publications-- American flm and pop culture was characteristic including the memoirs he published in 1993 on of the New German Cinema that Praunheim's ear‐ the occasion of his fftieth birthday, 50 Jahre Per‐ ly flms are associated with.[3] He was especially vers: Die Sentimentalen Memoiren des Rosa von influenced by American Underground flmmak‐ Praunheim. The exhibition did not follow a partic‐ ers, in particular Gregory Markopoulos.[4] ular chronological order. Rather, visitors were Markopoulos, with whom Praunheim worked in guided through the space by partitions and free- the late 1960s, is known for his use of erotic im‐ standing exhibition pieces and more or less en‐ agery and "magical" editing effects in flms such couraged to wander around and encounter differ‐ as The Illiac Passion (1967).[5] Such elements, ent moments from Praunheim's career through along with the ability to make interesting flms on photographs, flm stills, movie posters, props, a small budget and with few resources, character‐ books, and notes. As might be expected, visitors ize many of Praunheim's flms as well. Yet, the in‐ could also view excerpts from some of his flms, fluence of and fascination with America extended including Nicht der Homosexuelle ist pervers, beyond an interest in the Underground flm Armee der Liebenden oder Aufstand der Per‐ scene. He also continually referenced and lauded versen (1979), Pfui Rosa! (2002); watch his appear‐ the American gay rights movement--much to the ance on Explosiv; or listen to his radio play "Ado‐ frustration of German activists, who experienced nis in New York" (1987). Articles in the exhibition gay liberation, the AIDS epidemic, and debates were on loan from the Sammlung von Praunheim over partnership and spousal rights differently of the Deutsche Kinemathek, the collection of the from their American counterparts.[6] Schwules Museum, or in many cases were lent by This broader history and the conditioning his‐ Praunheim himself. torical factors behind Praunheim's artistic pro‐ Upon entering the exhibition space, one frst duction remained obscure in the exhibition, how‐ encountered a wall covered with photographs of ever, a disadvantage of relying strictly on quotes some thirty artists, writers, flmmakers, and to convey background information. It is question‐ politicians including Ulrike Ottinger, Fassbinder, able just how familiar younger Germans, let alone and Praunheim himself. Each photograph was ac‐ international visitors, might be with Praunheim's companied by a quotation about the director tak‐ work and the complex histories from which it en from interviews with the respective fgures. In‐ emerged: for example, the student movement, deed, quotes were spread throughout the exhibi‐ New German Cinema, gay liberation. More in- tion and served in lieu of explanations to illumi‐ depth analysis of the changing discourses of gen‐ 2 H-Net Reviews der and sexuality that accompanied Praunheim's toward myth building, the exchange was never‐ work, as well as some explanatory material on theless stimulating and exposed many significant German social history over the last four decades, issues surrounding the experience of sexual mi‐ would have added greatly to the depth and quali‐ norities in East and West Germany. For example, ty of the exhibition without detracting from its what began as a question about Mahlsdorf's Stasi commemorative intention. It can only be hoped file quickly expanded into a discussion of the di‐ that future exhibitions and retrospectives will of‐ vergent experiences of homosexuals in the GDR fer a more nuanced glimpse into Praunheim's and FRG. Although gay history has made great ad‐ complex and far-reaching oeuvre. It should be vances in both popular and scholarly discourse in pointed out, however, that while Rosa geht in the decades since Praunheim began making his Rente was better funded than previous homages films, such local discussions are a reminder of the in the series, staying within the limits of a rela‐ central role that oral exchange of memories plays tively small budget was a concern. in constituting communities. By far the most exciting aspect of the exhibi‐ Despite the exhibition's title, Praunheim is tion was the weekly discussion series led by not, in fact, going into retirement: he is working Praunheim at the museum. Each week a brief flm on three new flm projects at the moment. Fur‐ clip relevant to the topic was shown, followed by thermore, his most recent documentary, Meine a panel discussion with invited guests and Praun‐ Mutter--Spuren aus Riga (2007), was pre-selected heim--who, in characteristic style, asked probing for nomination for the Deutscher Filmpreis. The questions of the discussants and occasionally of next step, outright nomination, would have surely audience members. Topics included early gay lib‐ enhanced Praunheim's visibility both within Ger‐ eration in Germany and the group Homosexuelle many and abroad. Though it eluded him this time, Aktion West-Berlin (co-founded by Praunheim in Praunheim will assuredly not stop making flms 1971), AIDS, trans movements, and Praunheim's or relent in his pursuit to remain in German pub‐ involvement with students and novice flmmak‐ lic consciousness. ers.[7] Perhaps the most interesting discussion Notes concerned Charlotte von Mahlsdorf (1928-2002). Born Lothar Berfelde, Charlotte founded the [1]. Much of the information used in this re‐ Gründerzeit Museum in Berlin-Mahlsdorf (for‐ view comes from an interview I conducted with merly East Berlin), where she collected and dis‐ Mr. Theis at the Deutsche Kinemathek on January played furniture pieces and everyday items from 10, 2008.