ZUGEWINN 5Th Werkleitz Biennial GEMEINSCHAFT July 31St –August 4Th 2002
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English Edition € 1 ZUGEWINN 5th Werkleitz Biennial GEMEINSCHAFT July 31st –August 4th 2002 Editorial This publication appears on the occasion of the 5th Werkleitz Biennia and is entitled – like the festival itself – ”ZUGEWINNGEMEINSCHAFT” (Community of Surplus). Along with a 12-page picture supplement, it includes documentation of the exhibition, a film / video archive and a compendium of texts written for this paper. The field of reference chosen by the Biennial’s curatorial team consists of three “objects” that determine the framework for this publication: Rainer Werner Fassbinder’s Western Whity (1970) thematizes sexual dependence, racist violence, and counter-violence in projections on the United States of America, the conditions in Germany, and a Spanish landscape. In 1973, the GDR organized a festival of youth orientated-cultural internationa- lism, the X. World Festival of Youths and Students, which was supported by prominent guests from around the world. And the statement “Open borders?” seeks new political and cultural definit- ions in the face of a redistribution of power and migration movements. Accompanied by a conversation between the curators in which they talk about their intentions and the actual circumstances that led to the selection of the three themes and the planning of the Biennale, we invited several authors to discuss the these topics in this publication. Examinig Whity, the film historian Marc Siegel locates a form of resist- ance in the victim’s roles within Fassbinder’s work. Content Participants Claudia Heynen Herman Asselberghs and Dieter Lesage examine „Refugees don’t have Homes“ .................. 31 what made the right-wing populist Pim Fortuyn, Micz Flor, Merle Kröger, Philip Scheffner who was murdered in May 2002, so attractive for „Now we are all Alone, my Brother“ ............. 4 Jochen Becker (Dierk Schmidt, many. In an autobiographical essay, Vaginal Davis Martin Kaltwasser) focuses on sexuality, blackness, racism and her Curatorial Team Manon de Boer „Matrices for a Multitude „Amadeu, last Warning“ .......................... 35 fascination with Angela Davis, who also gets taken „Zugewinn/Gemeinschaft“ .......................... 2 of Thoughts on Individual Freedom“ ............ 6 up later in Boris Buden’s analyses of the contrast Fernsehfamilie ....................................... 35 between the political icon Davis and former GDR Marc Siegel „Whity“ .................................. 3 Janko Vook „Whity Ego-Shooter“ ................ 6 president Erich Honecker – both stood side by Jun Yang „Coming Home - side during the X.World Festival – as a cut in the Hermann Asselberghs / Dieter Lesage Henrik Olesen „Homosexual Daily Structures Of Life“............................ 36 family photo. A large round-table discussion on „Homo politicus. Rights Worldwide", 2000 (Excerpt) ............. 11 the World Festival along with an interview with On the Case of Pim Fortuyn“...................... 12 Theatergruppe des Friedrich-Schiller- the filmmaker Ina Alverman, describe the way this Hans-Peter Scharlach „This Land“............... 11 Gymnasiums, Calbe, & Micz Flor event was perceived and the resulting effects. Vaginal Davis „Es tut uns Leid, aber wir „Calbe Encounters of the Third Kind“ .......... 36 haben keine Zimmer für Ausländer“ ........... 16 Martin Conrath / Marion Kreißler Autonomous interpretations of the concept “open „Modell Deutschland“ ............................. 13 Philip Horst „I am in Japan Now!“ ............. 45 borders” by transnational migrants, is the topic of Boris Buden „A Cut into the Void“ .............. 17 Manuela Bojadˇziev’s and Vassilis Tsianos’ text. Helen Lee „Cleaving“ .............................. 14 Els Opsomer „Cosmopolitessen“ ................ 45 In addition, Dana Diminescu describes business Discussion with Simone Hain, Wolfgang Kil, strategies, family contacts and hospitality as Robert Lippok, Ina Rossow Sebastian Schädler „Girl Meets Boys“........... 15 Lost Nation „Trial Constitution“ ................. 46 “integration from below”. Both texts share the „The Short Summer of Euphoria“ ............... 19 opinion that migration movements are already Lunch In The Ashes: Stephan Dillemuth taking place independent – in a positive sense – of Merle Kröger, Philip Scheffner „Light People in the Swamp of the Sun“ ..... 47 the controls and regulations by governments or the Interview with Ina Alverman .................... 25 Jayce Salloum industry. „(As if) Beauty Never Ends ....................... 22 Ashkan Mohammadi Cartoons ...... 13/32/48 Manuela Bojadˇziev / Vassilis Tsianos The more than 40 artists, filmmakers and video „Border Clash“ ....................................... 26 Shelly Silver artists participating in the exhibition program „Does this Boat Sail Nightly?“ ................... 23 developed their works for the Biennale, to a large Mabouna II Moise Merlin Program extent, along the lines of the implications of the „Way of the Cross“ .................................. 30 Maria Thereza Alves „One Year Later“.......... 23 three “objects”. They were asked to contribute to Overview .............................................. 37 this publication in the form of an appendix or Rosa „Why We Are Here“ .......................... 31 Merle Kröger „Games Without Frontiers“..... 24 commentary on their installations, research, and Contents of Films / fixed or moving images. Shortly before the open- Dana Diminescu Madhusree Dutta „UTOPIA: 1973“ ............. 24 Videos / Lectures ing, the installations in Werkleitz and Tornitz will „The De-Institutionalisation of Hospitality“ .. 33 be photographed for the color supplement. Wednesday, July 31st ............................. 38 Christine Lohr / P. Peche „Picture Novel“ .... 24 A summary of the events section is included in the Thursday, August 1st ............................... 39 middle of the third section of this publication. It Kreuzberg Museum Berlin can be detached and functions as an orientation Heinrich-Böll-Foundation Sachsen-Anhalt „We were the First“ ................................ 27 Friday, August 2nd ................................. 40 guide as well as a brief record of the events. The more than twenty films, videos, performances and Jutta Jahn „A Question of Gender, theoretisches fernsehen „area tv tal" ........... 28 Saturday, August 3rd ............................... 42 lectures are also described in texts and pictures. or, What You Will?“ ................................... 7 Helmut und Johanna Kandl Sunday, August 4th ................................ 43 Many thanks to the authors, artists, colleagues, and Pavlo Zinchuk „The Break“ ........................ 9 „On the Island of Bella Lella“ .................... 28 also the Heinrich-Böll-Foundation Saxony-Anhalt, Parcours Overview .................................. 44 who all supported this publication with far more Claudia Hammer Christine Lohr „The Family“ ..................... 29 than their own contributions. „AIDS: An Import Product“ ....................... 10 Imprint ............................................... 47 Wiebke Grösch / Frank Metzger Ed.: Florian Zeyfang Questionnaires .................................. 7-10 „After the Olympics“................................ 29 List of Participants, Credits ...................... 48 read online: www.werkleitz.de/zugewinngemeinschaft ZUGEWINN GEMEINSCHAFT 2 ZUGEWINN/GEMEINSCHAFT (COMMUNITY OF SURPLUS) 5th Werkleitz Biennial The following conversation between several members of the curatorial team was recorded with the aim of describing the approach to the project and the way in which it developed. Discussion participants were: Jochen Becker (jb), Reinhild Benning (rb), Robin Curtis (rc), Stephan Geene (sg), Merle Kröger (mk), Holger Kube Ventura (hkv), Philip Scheffner (ps) and Dierk Schmidt (ds). The discussion took place in Berlin on May 26th. Point of Departure would avoid the exhibition contributions overall interesting: why doesn’t this film exist in a haps 1989 brought the post-war amnesia to an from turning into a collection of examples that format “compatible with our system”? end and made evident the scope in which history hkv: What bothered me about the past Werkleitz merely illustrate the present lines of conflict and jb: The World Festival is similarly invisible. At the occurs. At the beginning of the 70s, it was not Biennials was the division of the four disciplines: invite indirect discourse, so to say... Zeitgeschichtliche Forum Leipzig, a branch of foreseeable what would become of the revolu- art, film/video, performance and Internet. There hkv: A triangle was created. The first reference or the Deutsche Historische Museum in Bonn, the tionary and reformist movements of the 60s, also seemed to be very little communication “object” we came upon was Whity, a fairly crimes of the GDR are shown, but the euphoric that this movement would peter out in such a between the involved curators. For the 5th unknown film by Rainer Werner Fassbinder. World Festival is missing, or at least I didn’t way. But, you can already see in Fassbinder, a Werkleitz Biennial, which I’m organizing as That was in September 2001, when we started spot it in this collection of GDR slender. I was very skeptical politicalness that in the end situ- artistic director, a working group was formed with our weekly meetings. only familiar with excerpts. If you ask people in ates politics on the level of sexuality, where and acted along the lines of contents and across the East, however, the event is still extremely forced