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Radical Failure. the Reinvention of German Identity in the Films of Christian Schlingensief
XVI Jornadas Interescuelas/Departamentos de Historia. Departamento de Historia. Facultad Humanidades. Universidad Nacional de Mar del Plata, Mar del Plata, 2017. Radical Failure. The Reinvention of German Identity in the Films of Christian Schlingensief. Tindemans, Klass. Cita: Tindemans, Klass (2017). Radical Failure. The Reinvention of German Identity in the Films of Christian Schlingensief. XVI Jornadas Interescuelas/Departamentos de Historia. Departamento de Historia. Facultad Humanidades. Universidad Nacional de Mar del Plata, Mar del Plata. Dirección estable: https://www.aacademica.org/000-019/621 Acta Académica es un proyecto académico sin fines de lucro enmarcado en la iniciativa de acceso abierto. Acta Académica fue creado para facilitar a investigadores de todo el mundo el compartir su producción académica. Para crear un perfil gratuitamente o acceder a otros trabajos visite: https://www.aacademica.org. para publicar en actas Radical Failure. German Identity and (Re)unification in the Films of Christian Schlingensief. Bertolt Brecht, the German playwright, made a note about his play The Resistible Rise of Arturo Ui, written in 1941. The play depicts a Chicago gangster boss, clearly recognizable as a persiflage of Adolf Hitler. Brecht writes: “The big political criminals should be sacrificed, and first of all to ridicule. Because they are not big political criminals, they are perpetrators of big political crimes, which is something completely different.” (Brecht 1967, 1177). In 1997 the German filmmaker, theatre director and professional provocateur Christoph Schlingensief created the performance Mein Filz, mein Fett, mein Hase at the Documenta X – the notoriously political episode of the art manifestation in Kassel, Germany – as a tribute to Fluxus-artist Joseph Beuys. -
Gefangenenlager, Psychiatrie Und Nun DSDS
P - Publizisten P - Publizisten Medienspektrum ABENTEUER JOURNALISMUS Martin Blach: Gefangenenlager, Psychiatrie und nun DSDS Martin Blach, 1975 in Frankfurt a. M. geboren, studierte nach Abitur und Wehrdienst kath. Theologie an Jesuiten- Hochschulen in Frankfurt a. M. und Boston/USA. Parallel eignete er sich studienbegleitend Expertise in Betriebs- wirtschaft und Marketing/PR an. Nach verschiedenen Stationen im Journalis- mus, in der Hessischen Staatskanzlei sowie der Hess. Landesvertretung in Berlin wurde er 2008 vom Kuratorium der Stiftung Kloster Eberbach zu deren Geschäftsführendem Vorstand berufen. Martin Blach „vermarktet“ Kloster Eberbach mithilfe einer Fernsehshow s ist besonderes Glück, an die- Ort. Es war bereits Gefangenlager, Psy- In meiner Zeit als Vorstand ha- sem 900 Jahre alten Ort arbeiten chiatrie und Waffenlager. Durch die ben wir noch nie eine solche mediale zu dürfen. Seit acht Jahren helfe Basilika führte zeitweise eine Straße. Aufmerksamkeit erfahren. Im No- Eich als Geschäftsführender Vorstand, Warum diesen Ort also nicht für ein vember 2015 sind wir vom Bundes- Kloster Eberbach zu erhalten und der Format öffnen, das dem Kloster einen verband Deutscher Stiftungen mit Öffentlichkeit zugänglich zu machen. so nie dagewesenen Werbeeffekt bieten dessen „Oscar“ für gutes Stiftungs- Ein Traumjob und zugleich ein Kampf, könnte? management ausgezeichnet worden. ohne in Betreib und Unterhalt staat- Legt man eine Werbeminute bei RTL Meist war dies nur eine kurze Notiz lich subventioniert zu sein täglich fast am Samstagabend in Höhe eines sechs- wert. Über Jahre haben wir Kloster 10.000 Euro an Kosten zu stemmen. stelligen Betrags zugrunde und verge- Eberbach zu einem erfolgreichen Ohne kreative Vermarkung geht da genwärtigt sich die Präsenz des Klosters Wirtschaftsunternehmen aufgebaut nichts. -
Debate on Anti-Semitism Lacks Substance
SOCIETY: ANTI-SEMITISM Debate on anti-Semitism lacks substance Long-term media analysis of coverage on anti-Semitism, Israel and religious communities 1999-2003 s there another topic that national media in Germany treat quite as Short-term sensationalism… I carelessly as real or purported anti- Presence of the topic anti-Semitism 01/02-11/03 Semitism? After ten years of continuous 100 media analysis, and against the backdrop number of stories of the debate on the speech by CDU par- liamentarian Hohmann, the observer is 80 hard pressed to see anything reassuring in media reporting. 60 Whether in the ARD or ZDF, BILD or SÜD- 40 DEUTSCHE ZEITUNG, SPIEGEL or STERN, journalists continue to exploit and sen- 20 sationalize their coverage on the historic responsibilities of Germans, on religious 0 communities in general and the Jewish 1234567891011121234567891011 community and Israel, in particular. Cli- 2002 2003 chés seem to play a far more important Source: MEDIA TENOR Basis: 328 stories abaut anti-Semitism; role in news selection and evaluation than 01/01/2002 - 11/15/2003 in 21 media a journalistic predilection for research, reporting the news and putting events into a clear context. The victims are once …leads at best to saturation again the very same people for whom the Assessment of selected religious communities 01-11/03 media hype was purportedly intended: Shares of negative and positive coverage the Jewish religious community. Catholic church negative Anti-Semitism as a pretext positive The above graph shows how shallow Protestant curch this debate really is: Journalists who paid such great attention to the topic in Jewish community May/June 2002 and in November 2003 should also put up with the question why they basically ignored it for the entire Muslim community time in between? Jewish graveyards are desecrated every week. -
Wagner Oct 04.Indd
Wagner Society in NSW Inc. Newsletter No. 98, November 2004 IN NEW SOUTH WALES INC. President’s Report Dear Members Neidhardt Ring This is our final Newsletter for 2004, and in less than 4 weeks the first cycle of the Neidhardt Ring in Adelaide will begin. This is an historic and monumental undertaking for the State Opera of South Australia, and we in the Eastern States, who cannot hope to dine on such exalted operatic fare in our own cities, will once again pilgrimage to Adelaide and its Festival Hall. In his review of Ring productions at our July meeting, Dr Antony Ernst mentioned that many opera companies are destroyed by the demands of staging the Ring, as moths to a flame, and we must all hope that this is emphatically not the case for the State Opera of South Australia. Some stagings of the Ring disappear forever after their first performances, and again we must all hope that this can be revived in Adelaide, or perhaps staged in other cities here and overseas. This Ring is being characterised by some commentators as the first truly Australian Ring, but I prefer to follow the Bayreuth tradition by naming this Ring after its producer, Elke Neidhardt. “Nach Adelaide!” Society Events PLEASE NOTE: In response to many requests over the last few years, the Management Committee has decided that all functions for 2005 will begin at 2:00PM. On Sunday 19 September, Dr Jim Leigh spoke about different recordings of the Ring and introduced the film made in November 1964 of the recording of the Solti Gotterdammerung in the Sofiensaal, Vienna. -
B Or P 23-01-2012 00:33 Pagina 57
Concepten en objecten - proef 1:B or P 23-01-2012 00:33 Pagina 57 A Campsite for the Avant-Garde and a Church in Cyberspace: Christoph Schlingensief’s Dialogue with Avant-Gardism Anna Teresa Scheer Atta-Atta: a Melancholic Evocation of the Avant-Garde In [19]68 I was eight years old, but I demand that here and now, in 2001, I am allowed to try things out. Christoph Schlingensief (quoted in Heineke & Umathum, eds. 2002: 33) Berlin, January 2003: Christoph Schlingensief’s theatre performance Atta-Atta: Art has Broken Out! premieres in the Volksbühne. A motley group of ‘artists’, including Schlin- gensief, record themselves on video as they make an impassioned appeal for the Ober- hausen short film festival committee to accept their submission. The scene, which ref- erences Schlingensief’s beginnings in experimental film, appears to parody the beliefs its protagonists hold with regard to the radical potential of their own filmmaking vi- sions. The next section of the performance sees Schlingensief as a wild ‘action’ painter, charging at canvases in his studio as his parents look on dubiously from the sofa in the TV room next door. The mise-en-scène – with the parents still visible in their small liv- ing room stage left – then opens out onto a camping site with tents, a setting which could be variously interpreted as a cheap vacation site, a place of temporary habitation, a vulnerable site exposed to the elements or possibly to an attack, a terrorist training site, or a mobile military encampment. In this semiotically ambiguous location, Schlingensief situates a group of artists and eccentrics. -
Practising the Art of Wagnis
Practising the Art of Wagnis An introduction Since mid-2014, we at Iwalewahaus, University of Bayreuth, became increasingly in- terested in the works of Christoph Schlingensief and in what we call the “Schlingensief approach”: a practice more focused on the process instead of the outcomes, without fixed expectations for results – an adventuresome artistic practice. Schlingensief lived this approach as a filmmaker, action artist, director for theatre and opera productions and as a visual artist in as far-flung places as Berlin, Vienna, Bayreuth, Manaus in Brazil, Lüderitz in Namibia, in Zimbabwe or in Burkina Faso. Our research on Schlingensief coincided with exhaustive retrospective exhibitions in both Berlin and New York in 2013 and 2014, which enabled us to conduct an extended overview of his work. Also the impressive exhibition at the German pavilion for the Venice Bienniale in 2011 and the increase in comprehensive text collections and mono- graphs over the last years greatly helped our understanding of Schlingensief’s extensive oeuvre. To date, research on Schlingensief had been mainly conducted within German discourses, but the international exhibitions opened the doors to a more international discussion. A fruitful contribution in this context was the book Christoph Schlingensief: Art Without Borders (Intellect, 2010), edited by Tara Forrest and Anna Teresa Scheer, as it was the first comprehensive publication on Schlingensief in English. With this background in mind, we want to contribute to the still limited interna- tional awareness of the work of Christoph Schlingensief but this time focus on particular topics within his oeuvre. What could have been more fitting than to start with obvious relations? As an institution in Bayreuth, we are confronted with the cult on Richard Wagner every year. -
CINEMA 12 76 the AFRICAN TWIN TOWERS UNVEILING the CREATIVE PROCESS in CHRISTOPH SCHLINGENSIEF's LATE FILM WORK Jeremy Hamers
CINEMA 12 76 THE AFRICAN TWIN TOWERS UNVEILING THE CREATIVE PROCESS IN CHRISTOPH SCHLINGENSIEF’S LATE FILM WORK Jeremy Hamers1 (University of Liège) In 1999, during one of Christoph Schlingensief’s appearances in the German talk show “Grüner Salon” (N-TV), journalist Erich Böhme blamed the director, political performer and dramatic author for having invited Horst Mahler, an (in)famous member of the far right party NPD2, to give a public speech at the Berlin Volksbühne. The interview soon became very tense. But during this short conflictual exchange, Schlingensief made a remarkable statement about broadcasted pictures, the material body and the political. - Böhme: “Don’t you run the risk of promoting the right-wing scene? After all, they could say, ‘Aha! He even includes us in his performance. He gives Mahler, who’s closely linked to the NPD, excellent publicity!” - Schlingensief [interrupting Böhme]: “Mr Böhme, I didn’t want to say this, but when you, in your show… that was interesting… I had Mr Mahler and Mr Oberlercher3 down here at the Volksbühne, on the stage – and one could jump on the stage, and some people actually did. And Oberlercher shouted at some point, ‘Leibstandarte, Leibstandarte!’4 and whatever else. This man is completely nuts. This man is running on empty. Mr Mahler is also running on empty. They are all people who are running on empty. And I’m absolutely not.” - B.: “But why do you put them on the stage?” - S.: “But sitting in your show, Mr Böhme, was Mr Haider.5 And you just played with your glasses while asking in a jokey way, ‘Are you a populist? Are you a neonazi?’ Right? And I was sitting in front of my television screen, I was sitting there – and I wished I could put my hand inside the television! I thought, ‘That just can’t be true. -
The Team of the German Pavilion Welcomes You at the 54Rd International Art Exhibition – La Biennale Di Venezia 2011
The team of the German Pavilion welcomes you at the 54rd International Art Exhibition – La Biennale di Venezia 2011 Our press kit comprises the following information: · Factsheet about the exhibition at German Pavilion · Press information: Christoph Schlingensief at the German Pavilion · Curator‘s Foreword, Susanne Gaensheimer · Curator‘s Acknowledgments, Susanne Gaensheimer · Biography of Christoph Schlingensief · Biography of Susanne Gaensheimer · The German Pavilion from 1948 to 2011 · Press information of the Commissioner Federal Foreign Office (Auswärtiges Amt) · Press information of the Cooperating Partner Institute of Foreign Cultural Relations (ifa) · Press information of the Partner Goethe-Institut · Press information of the Partner AXA Art Insurance The German Pavilion 54rd International Art Exhibition – La Biennale di Venezia 2011 Duration: 4 June – 27 November 2011 Press preview: 1 – 3 June 2011 Press conference German Pavilion: 1 June 2011, 11 am, German Pavilion, Giardini della Biennale Opening of the German Pavilion: 1 June 2011, 2.30 pm, German Pavilion, Giardini della Biennale Official opening of the Biennale di Venezia: 4 June 2011, 10 am, Giardini della Biennale Director of the Bienniale: Bice Curiger Curator of the German Pavilion: Susanne Gaensheimer, Director of MMK Museum für Moderne Kunst, Frankfurt am Main Artist at the German Pavilion: Christoph Schlingensief Exhibition title: Christoph Schlingensief Publication: Christoph Schlingensief Susanne Gaensheimer (ed.) The book presents texts by over thirty authors, -
Christoph Schlingensief and the Bad Spectacle
Theron Schmidt, ‘Christoph Schlingensief and the Bad Spectacle’, Performance Research, 16.4 (2011), 27–33 <http://dx.doi.org/10.1080/13528165.2011.606047> accepted author final draft version Christoph Schlingensief, the enfant terrible of contemporary political art, died in August 2010, four years after being diagnosed with lung cancer and just months after the publication in English of a major survey of his work (Forrest and Scheer 2010). Schlingensief’s provocative work blurred the boundaries of artistic genres, as well as easy distinctions between ‘art’ and ‘politics’ – but his work can be grouped into roughly three phases: early work for film and television in the 1980s and 1990s, public actions and interventions in the 1990s and 2000s, and finally pieces that engaged with more traditional theatrical and operatic forms, such as his controversial productions of Hamlet in 2001 and Parsifal from 2004 to 2007. In this short article, I will focus on one of the most famous of his public interventions: a week-long action in Vienna titled Bitte Liebt Österreich! (Please Love Austria!, 2000), which outlives Schlingensief thanks to the availability of an excellent documentary film by Paul Poet (2002). In this action, Schlingensief responded to a far-right turn in Austrian politics by constructing a simulation of a detention centre in a prominent public square in Vienna, populating it with twelve people whom Schlingensief claimed were seeking asylum in Austria at that time. Mimicking the Big Brother TV-show format, the project invited audiences and website visitors to vote each day to ‘evict’ two of the hopeful ‘asylum seekers’; at the end of the week, it was claimed that the remaining contestant would receive a cash prize and the option to marry an Austrian citizen in order to gain the right to remain in the country. -
Marissa K. Munderloh Phd Thesis
The Emergence of Post-Hybrid Identities: a Comparative Analysis of National Identity Formations in Germany’s Contemporary Hip-Hop Culture Marissa Kristina Munderloh This thesis is submitted in partial fulfilment for the degree of PhD at the University of St Andrews 3 October 2014 Abstract This thesis examines how hip-hop has become a meaningful cultural movement for contemporary artists in Hamburg and in Oldenburg. The comparative analysis is guided by a three-dimensional theoretical framework that considers the spatial, historical and social influences, which have shaped hip-hop music, dance, rap and graffiti art in the USA and subsequently in the two northern German cities. The research methods entail participant observation, semi-structured interviews and a close reading of hip-hop’s cultural texts in the form of videos, photographs and lyrics. The first chapter analyses the manifestation of hip-hop music in Hamburg. The second chapter looks at the local adaptation of hip-hop’s dance styles. The last two chapters on rap and graffiti art present a comparative analysis between the art forms’ appropriation in Hamburg and in Oldenburg. In comparing hip-hop’s four main elements and their practices in two distinct cities, this research project expands current German hip-hop scholarship beyond the common focus on rap, especially in terms of rap being a voice of the minority. It also offers insights into the ways in which artists express their local, regional or national identity as a culturally hybrid state, since hip-hop’s art forms have always been the result of cultural and artistic mixture. -
Tom Tykwer As Auteur
Welcome to Tykwer-World: Tom Tykwer as Auteur David Clarke, Bath ISSN 1470 – 9570 Tom Tykwer as Auteur 7 Welcome to Tykwer-World: Tom Tykwer as Auteur 1 David Clarke, Bath This article argues that German director Tom Tykwer represents a new type of auteur distinct from the model prevalent in the New German Cinema. His films foreground a personal style and rework a limited number of themes, but lack the critical dimension of the New German Cinema’s Autorenfilm . Instead, it can be argued that his status as auteur is more a performative gesture that seeks to establish a particular and recognizable brand in the domestic and international marketplace. The article shows how Tykwer’s films create a unique and consistently recognizable filmic world that is presented as entirely artificial and that bears only a loose connection to contemporary social reality. It is argued that this self- conscious artificiality constitutes both a key component of Tykwer’s personal style and a foregrounding of the creative presence of the director in his films. 1. What Kind of Auteur is Tom Tykwer? Since Tom Tykwer’s international success with Lola rennt in 1998, it has become common to regard this filmmaker as an auteurist , a maker of personal films that can be aligned with a specifically German or European tradition of artistic self-expression in the medium of cinema. The director himself has also stressed the importance of personal self-expression in his filmmaking practice: “was mich am meisten reizt, ist mich selber einzubringen. Nicht so zu tun, als sei ich nicht da. -
The Transformative Power of Art (London, 5-6 Feb 16)
The Transformative Power of Art (London, 5-6 Feb 16) The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN, Feb 5–06, 2016 Jessica Akerman The Transformative Power of Art: Richard Wagner's Gesamtkunstwerk and Christoph Schlingen- sief's participatory experiment Opera Village Africa The aim of this conference is to explore Christoph Schlingensief's participatory art project Opera Village Africa against the backdrop of Richard Wagner's idea of the Gesamtkunstwerk. We wish to approach this topic from the perspective of multiple disciplines including anthropology, art histo- ry, cultural studies, history, musicology, philosophy, postcolonial studies and theatre studies. The founding of the Opera Village Africa in Burkina Faso is inextricably linked with Schlingensief's critical engagement with the writing and music of Richard Wagner, who served Schlingensief throughout his career as a touch-stone for a process of working through the heritage of the German past. The soundtrack to Salvador Dali and Luis Buñuel's Un Chien Andalou (1928) initially evoked Schlingensief's ambiguous fascination for Wagner, which carried through his career work as filmmaker, theatre and opera director, actionist and performance artist. Schlingensief's Parsifal production for the Bayreuth Festival on which he collaborated with the conductor Pierre Boulez in 2004 became pivotal to his subsequent projects. Disillusioned about the elitism and inaccessibility of opera, Schlingensief desired to do justice to the young Wagner's anarchist ideas of a Gesamtkunstwerk that is accessible for everyone. His strategy to enable a diversity of audiences to participate in the Gesamtkunswerk was the Animatograph - a travelling rotating stage, which he developed out of his stage set for Parsifal and toured to a diversity of locations, such as Iceland, Namibia and Neuhardenberg.