Jürgen Böttcher: A Brief Visit By Seán Allan 1
1 y The beach is dominated by the figure of Aphrodite with her sphinx-like smile. r a r b i L
m l
The opening lines of Das Urteil der Aphrodite (The Judgement of Aphrodite , 1965), an early film project that i F
A F remained unrealized, succinctly captures the provocative, enigmatic quality of Jürgen Böttcher’s work as a E D
e h t filmmaker and painter. Born in 1931 in Frankenberg, Böttcher grew up in Strahwalde, a small village in Saxony y b
e close to the border between Germany, Poland and the Czech Republic, and the inspiration for the pseudonym, s a e l e
Strawalde, under which he has painted since the mid-1970s. In 1949, at the age of 18, Böttcher embarked on R
D V D the study of painting at the Dresden Academy of Fine Arts, an institution dating back to the late eighteenth A •
s century whose illustrious alumni and former faculty include Kurt Schwitters, Oskar Kokoschka, George Grosz, t r o h S and Otto Dix. Taught by Wilhelm Lachnit, an avant-garde painter whose works had been condemned by the x i S
Nazis as “degenerate,” the young Böttcher was to explore ways of mediating his adolescent experience of K R O W
World War II via contemporary developments in modernist aesthetics. Nowhere is this more clearly the case |
T R than in one of his early works, Beweinung (Lamentation , 1958), a painting prompted by the traumatic memory A
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of his brother’s death during the war. In the stylized tears of the mourning mother and the use of a predomi - l l A
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nantly gray-blue palette, the influence of Picasso and, above all, his anti-war masterpiece Guernica of 1937 á e S
2 are unmistakable. But while Böttcher’s painting is now part of Berlin’s National Gallery collection, at the time y b
” , t i of its completion it was severely criticized by functionaries in the East German Ministry of Culture, a reaction s i V
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that was to set the tone for the reception of Böttcher’s work for the next three decades. r B
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To a large extent, the difficulties Böttcher experienced as a painter and filmmaker during the r e h c t
GDR’s existence were caused by his failure to adhere to a conventional concept of socialist realist aesthetics t ö B
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in his work. As of the early 1950s, East German cultural policy was dominated by the ruling Socialist Unity e g r ü J
Party’s desire to promote a crude concept of socialist realism, in which, according the Statute of the Union of “ Soviet Writers issued in 1934, “the truthfulness and historical concreteness of the artistic representation of reality must be linked with the task of ideological transformation and education of workers in the spirit of socialism.” 3 Regardless of whether they drew on the traditions of pre-war expressionism or sought to embrace contemporary developments in Italian neorealism, many East German writers and artists during the 1950s and early 60s found themselves accused of embracing “formalist tendencies” and an allegedly nihilistic view of social progress in their work. Writing under a pseudonym (N. Orlov) on 20-21 January 1951 in the Tägliche Rundschau , the daily newspaper published under the auspices of the Soviet Military Administration in occu - pied East Germany, the cultural theorist Vladimir Semjonovich Semjonov even went as far as to condemn Picasso for the departure from realist modes of painting in his recent work, arguing that “such formalist distor - tions constituted an utter waste of Picasso’s talent.” 4 That same year, the GDR leader Walter Ulbricht, addres - sing the Fifth Central Committee Conference of the Socialist Unity Party (the SED), declared: “We do not want to see any more abstract paintings in our art academies. We need neither the images of moonscapes nor of rot - ting fish. The gray-in-gray painting, which is an expression of capitalist decline, stands in the sharpest possible 2
5 y contrast to life in the GDR today.” r a r b i L After completing his training as a painter in 1953, Böttcher taught classes in drawing at Dresden’s m l i F
Volkshochschule , an adult education center open to people from a very diverse range of backgrounds. There his A F E D
students included Peter Makolies, Peter Graf, Peter Herrmann, and Ralf Winkler (now better known as A. R. e h t
y b
Penck), all of whom became established artists in their own right and, unlike Böttcher, eventually left the GDR for e s a e
the West. During the early 1950s, Böttcher’s interest in filmmaking was stimulated by developments in both Italian l e R
neorealist cinema and the cinema of the Soviet Union, including such films as Vittoria De Sica’s Umberto D. (1952), D V D
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Luchino Visconti’s La Terra Trema (The Earth Trembles , 1948) and Alexander Dovzhenko’s Zemlya (Earth, 1930). •
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Increasingly conscious of the obstacles that stood in the way of his working and exhibiting as a painter—despite o h S
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its limited potential to reach a mass audience, painting and the fine arts were, paradoxically, one of the most clo - S
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sely supervised areas of cultural production in the GDR—in 1955, Böttcher started to train as a filmmaker at the O W
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newly founded German Academy for Film (now: Academy for Film and Television Potsdam-Babelsberg). Looking T R A
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back at this period in his life, Böttcher notes: “When it became clear that I would get nowhere with painting, I n a l l A
realized that the films of Rossellini and de Sica, as well as Dovzhenko, which I saw a lot of, reflected life pretty n á
6 e
much as I saw it.” By 1960, he had been taken on at the DEFA Studio for Newsreels and Documentaries, the unit S
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responsible for documentary film production in the GDR. , t i s i V
While Böttcher may have hoped that turning to film would offer him greater opportunities to engage f e i r B with the modernist aesthetics of the Italian neorealists he so admired, such an approach, based as it was on a A
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stark depiction of postwar social deprivation and the teasing out of contradictions in everyday life, ran directly h c t t ö B
counter to East German cultural policy. In an address to the second Film Conference of 3-5 July 1958, the GDR’s n e g Minister of Culture, Alexander Abusch, had attempted to nip such tendencies in the bud, arguing that “it must be r ü J clear to filmmakers in the GDR that the aesthetics of the Italian neorealists, intended as they are to expose the “ irresolvable antagonisms of capitalist society and to encourage the members of that society to rebel against it, are not appropriate for films set in a workers’ and peasants’ state... The use of critical realism cannot but leave us with a pseudo-representation of the new reality in which we live.” 7 Accordingly, Böttcher’s determination to seek out new ways of conveying the most complete picture possible of the protagonists of his films, including all their drives, passions, pleasures and worries meant that conflict with the state authorities was almost a foregone conclusion. Böttcher’s first documentary project as a regular employee of the DEFA Studio for Documentary Film was Drei von vielen (Three of Many , 1961/1989). The film focuses on the day-to-day lives of three of his friends— Peter Makolies, Peter Graf and Peter Herrmann—and explores their activity as amateur artists in their spare time. Looking back at the film from the perspective of 2011, it is not immediately obvious why it should have been regarded as so controversial. In stark contrast to Böttcher’s later documentaries, Three of Many has an explana - tory commentary (delivered by the 24-year-old fledgling star, Manfred Krug) that seeks, quite sincerely, to high - 3 y light the aesthetic achievements and political engagement of the three protagonists. In the opening section of the r a r b i L film, we see Peter Graf, a truck driver by day, painting in his makeshift studio while listening to jazz and smoking, m l i F
almost in the manner of a young Bertolt Brecht. Tempting though it is to dismiss Graf’s paintings as kitsch (almost A F E D
all of them feature the iconic IFA G5 truck that Graf drives at work in some shape or form), it is important to note e h t
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that Böttcher’s documentary never presents its subject matter in an ironic light. Rather, the film highlights a fun - e s a e
damental truth about painting (and indeed art generally); namely, that the creation of genuine works of art l e R
demands a sustained engagement on the artist’s part with material with which he or she is intensely familiar. D V D
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Accordingly, Graf’s repeated efforts to integrate images of his truck into a series of classical and romantic land - •
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scapes represent an attempt to bring about a productive synthesis of art and life and contribute to the generally o h S
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idealistic depiction of socialist life in the film as a whole. “His life wouldn’t be worth living,” the voice-over tells S
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us, “without his work, painting and driving.” O W
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In its depiction of Peter Makolies, a sculptor deployed in the restoration of classical buildings dama - T R A
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ged during the Allied bombing of Dresden, Three of Many introduces a new and radical perspective on artistic n a l l A
creativity, namely the concept of art as labor. For the sheer physicality of Makolies’s efforts in transforming raw n á e
stone into a recognizable figure stands in the starkest possible contrast to bourgeois concepts of artistic S
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“genius” and is portrayed as an activity with which his fellow workers at the construction site can easily identify. , t i s i V
By the same token, Böttcher’s film goes out of its way to argue for a conceptualization of art that, far from being f e i r B at odds with conventional social and familial structures, has its rightful place within the home and the collective. A
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The fact that all the artists in the film are male is, perhaps inevitably, a symptom of the prevailing h c t t ö B
gender politics of the late 1950s. Nevertheless, as dated as it may seem from today’s perspective, the film n e g emphasizes the importance of Makolies’s wife and child for his work and the desirability of Graf finding a suitable r ü J female partner. This is an attempt to portray the artist not as an “outsider” in society, but as a figure who belongs “ at the heart of mainstream life. Seen in this light, Graf’s visit to the fairground, a twilight world of popular culture that bridges the divide between high culture and the everyday world of work, might be read as a socialist re- interpretation of the romantic artist’s quest for a female muse. While the girl Graf ends up with is clearly a figure plucked from the ranks of the people, she is not lacking in exoticism, a fact underscored by the lyrics of the back - ground music “Never on a Sunday,” her fashionably modernist haircut and the obvious pleasure she takes in riding alongside him in the cab of his truck. The third artist featured in the documentary is Peter Herrmann, a man employed by a newspaper to touch up lithographic plates. Here too the visual language of the film argues for a productive synthesis of life and art—as, for example, when we watch him painting and the contours of the stove in his living room merge imper - ceptibly with the canvas on his easel. Given that Herrmann’s daytime job consists of preparing images at the pre- production stage, it is perhaps fitting that, of all the case studies in the film, it is his that Böttcher uses to address the idea that art should not simply reflect beauty, but engage with the suffering of others and the violence that 4 y human beings inflict on one another. What inspires Herrmann’s artistic creativity, the voice-over tells us, is love r a r b i L of life; “but part of this love is the representation of the unspeakable, lest it be forgotten.” It is this principle that m l i F
is enshrined in his painting of Patrice Lumumba, the first legally elected prime minister of the Democratic A F E D
Republic of the Congo, who was assassinated in 1961 as the result of a plot hatched jointly by the US and Belgian e h t
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governments. Moreover, as the discussions that take place at the house of another artist, Ralf Winkler (A. R. e s a e
Penck) underline, all the artists subscribe to a concept of art that is socially and politically critical and that, l e R
through the juxtaposition of contrasts, invites the active engagement of the viewer. D V D
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Böttcher’s documentary ends with the words: “They don’t aspire to be great artists; they simply want •
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to express what their friends and colleagues at work feel. They just want to be what they are—three of many.” o h S
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Insofar as it argues that artistic creativity is not simply an activity for a highly educated elite, but something to S
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which all people might aspire, it seems hard to understand why the film should have been greeted with such O W
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hostility. Just two years earlier, at the writers’ conference held at a chemical production plant in the town of T R A
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Bitterfeld on 24 April 1959, the East German government had coined the slogan Greif zur Feder Kumpel! (lit. Pick n a l l A
up your pen, comrade! ), in an attempt to encourage workers in factories and industry to produce their own art n á
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and literature. Given the unavailability of reports submitted by the East German Ministry of Culture’s Film Office S
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outlining the reasons why the film was banned, it is not easy to be sure just why it was regarded as unsuitable , t i s i V
for general release. Willi Zahlbaum, the director of the DEFA Studio for Newsreels and Documentaries, had origi - f e i r B nally approved the script at the pre-production stage and, following the test screening, had argued that the finished A
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film should be licensed for general release. However, when representatives of the Film Office met and were h c t t ö B
unable to agree upon how to proceed, it was decided to refer the matter directly to Alfred Kurella, the East n e g German Politburo member responsible for cultural affairs. In a letter dated 2 January 1962, Kurella acknowledged r ü J Böttcher’s undoubted talent as a filmmaker, but banned the film on the grounds that “The content and underlying “ idea of Three of Many are both completely misguided.” 9 It was not until June 1988 that the film was publicly screened for the first time (in Edinburgh), an event followed on 16 January 1989—some 27 years after its produc - tion—by the licensing of the film for general release in the GDR. Looking back at events from today’s perspective, it seems hard to understand what it was that so incensed the GDR cultural authorities. Böttcher himself has suggested that members of the Politburo objected to the neo-realist elements of the film and, in particular, its failure to portray both workers and their homes in a suf - ficiently idealized light. 10 However, as was so often the case with instances of film censorship in the GDR, it seems likely that the decision to ban Three of Many had more to do with events taking place off-stage than with the film itself. For all the artists featured in the documentary (and indeed Böttcher himself) had submitted paint - ings for the controversial exhibition Junge Künstler (Young Artists), which had opened at the Academy of Arts in v 1 f t S 1 m s E b m g b M d t a c p w a s W h c e B t t a c e h h h h o 9 9 t t
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