Christoph Schlingensief

Description

The work of acclaimed German artist Christoph Schlingensief spans three decades and a diverse range of fields, including, film, television, activism, opera, and theatre. Christoph Schlingensief: Art Without Borders is the first book to be published in English on Schlingensief’s groundbreaking, politically engaged body of work. Leading scholars in the field offer a critical assessment of Schlingensief’s hybrid practice, and an interview with Schlingensief himself provides the reader with insight into past and present projects. The book will be an essential resource for artists, curators, students, and academics in the fields of theater and performance studies, film studies, cultural studies, German studies, political activism, and art history.

Foreword – Alexander Kluge

Background, Inspiration, Contexts – Tara Forrest and Anna Teresa Scheer

Chapter One: The Tunguska Manifesto: Schlingensief’s Critique of Film and the Restitution of Experience – Richard Langston

Chapter Two: An Obscene Reckoning: History and Memory in Schlingensief’s Deutschlandtrilogie – Kristin T. Vander Lugt

Chapter Three: Theatre of Self-Questioning: Rocky Dutschke, ’68, or the Children of the Revolution – Sandra Umathum

Chapter Four: Passion Impossible or Man with a Mission: A Go! manesque Intervention – Anna Teresa Scheer

Chapter Five: Putting the Public Sphere to the Test: On Publics and Counter-Publics in Chance 2000 – Solveig Gade

Chapter Six: ‘Right now Austria looks ridiculous’: Please Love Austria! – Reforging the Interaction between Art and Politics – Denise Varney

Chapter Seven: Productive Discord: Schlingensief, Adorno, and Freakstars 3000 – Tara Forrest

Chapter Eight: The Fusion and Confusion of Art and Terror(ism): ATTA ATTA – Brechtje Beuker

Chapter Nine: Media Play: Intermedial Satire and Parodic Exploration in Elfriede Jelinek and Christoph Schlingensief’s Bambiland – Morgan Koerner

Chapter Ten: Schlingensief’s Animatograph: Time Here Becomes Space – Roman Berka

Chapter Eleven: Citizen of the Other place: A Trilogy of Fear and Hope – Florian Malzacher

Chapter Twelve: Blurring Boundaries/Changing Perspectives: An Interview with Christoph Schlingensief – Florian Malzacher

Sujets

• Performing Arts
• Sociologie, société et politique
• Película fotográfica
• Film director
• Reference
• General officer
• General
• Film

Informations

• Publié par: Intellect Books
• Date de parution: 27 avril 2011
• Nombre de lectures: 0
• EAN13: 9781841503912
• Langue: English

Extrait

Christoph Schlingensief:
Art Without Borders
Christoph Schlingensief:
Art Without Borders
Edited by Tara Forrest and Anna Teresa Scheer
First published in the UK in 2010 by Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2010 by Intellect, The University of Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA
Copyright 2010 Intellect Ltd
All rights reserved. No part of this publication maybe reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Cover design: Holly Rose Copy-editor: Emma Rhys Typesetting: John Teehan
ISBN 978-1-84150-319-6 / EISBN 978-1-84150-391-2
Printed and bound by Gutenberg Press, Malta.
Contents
Acknowledgements
List of Titles
Foreword
Alexander Kluge
Background, Inspiration, Contexts
Tara Forrest and Anna Teresa Scheer
1. The Tunguska Manifesto: Schlingensief s Critique of Film and the Restitution of Experience
Richard Langston
2. An Obscene Reckoning: History and Memory in Schlingensief s Deutschlandtrilogie
Kristin T. Vander Lugt
3. Theatre of Self-Questioning: Rocky Dutschke, 68 , or the Children of the Revolution
Sandra Umathum
4. Passion Impossible or Man with a Mission: A Goffmanesque Intervention
Anna Teresa Scheer
5. Putting the Public Sphere to the Test: On Publics and Counter-Publics in Chance 2000
Solveig Gade
6. Right now Austria looks ridiculous : Please Love Austria! - Reforging the Interaction between Art and Politics
Denise Varney
7. Productive Discord: Schlingensief, Adorno, and Freakstars 3000
Tara Forrest
8. The Fusion and Confusion of Art and Terror(ism): ATTA ATTA
Brechtje Beuker
9. Media Play: Intermedial Satire and Parodic Exploration in Elfriede Jelinek and Christoph Schlingensief s Bambiland
Morgan Koerner
10. Schlingensief s Animatograph: Time Here Becomes Space
Roman Berka
11. Citizen of the Other place: A Trilogy of Fear and Hope
Florian Malzacher
12. Blurring Boundaries/Changing Perspectives: An Interview with Christoph Schlingensief
Florian Malzacher
Selected Reading List
Contributors Details
A CKNOWLEDGEMENTS
We would like to thank Christoph Schlingensief for finding time in his busy schedule for the interview and for his kind permission to reproduce the images for which he holds copyright in the book. We extend our thanks to Meike Fischer and Patrick Hilss for their help in securing the images, and we are grateful to Matthias Horn for permission to include two of his photographs in the book.
Many thanks to Alexander Kluge for kindly writing the Foreword , and to Beata Wiggen for her enthusiastic support of the project. We also gratefully acknowledge the assistance of Sabine Zolchow and the staff of the Akademie der K nste in Berlin for the resources and generous assistance they have provided us with at various points during our research. We are grateful to Florian Malzacher for conducting and transcribing the interview and to Michael Turnbull for translating two of the chapters. Thanks also to Demetrios Douramanis for his support, advice, and assistance on the project, and to Gudrun Herrbold for generously providing Anna with the use of her apartment in Berlin during an extended research trip in 2009.
Finally, the book could not have been completed without the generous financial assistance of the Faculty of Arts and Social Sciences, University of Technology, Sydney. This publication is also supported by a grant from the Research and Research Training Committee, Faculty of Arts, The University of Melbourne. We thank them for their support.
L IST OF T ITLES
The following pages list the English translations of Schlingensief s works as cited throughout the book, followed by the original German titles.
Films
Hey Mummy, we re making a movie/ Mensch, Mami, wir dreh n nen Film (1977)
Phantasus Must Be Different: Phantasus Go Home/ Phantasus muss anders werden: Phantasus Go Home (1983)
The Nonchalant Ones Are Coming - What Happened to Magdalena Jung?/ Die Ungenierten kommen - What happened to Magdalena Jung? (1983)
Tunguska - The Crates Are Here/ Tunguska - die Kisten sind da (1983-84)
Menu Total (1986)
Mother s Mask/ Mutters Maske (1987-1988)
100 Years of Adolf Hitler: The Last Hour in the F hrer s Bunker/ 100 Jahre Adolf Hitler: Die letzte Stunde im F hrerbunker (1988-89)
The German Chainsaw Massacre: The First Hour of Reunification/ Das deutsche Kettens genmassaker (1990)
Terror 2000 - Intensive Care Unit Germany/ Terror 2000 - Intensivstation Deutschland (1992)
United Trash (1995)
The 120 Days of Bottrop/ Die 120 Tage von Bottrop (1997)
Freakstars 3000 (2003)
Theatre and Opera
100 Years of the Christian Democratic Union: Game Without Limits/ 100 Jahre CDU: Spiel ohne Grenzen (1993)
K hnen 94: Bring Me the Head of Adolf Hitler/ K hnen 94: Bring mir den Kopf von Adolf Hitler (1993)
Rocky Dutschke, 68 (1996)
Hamlet (2001)
Quiz 3000 - You are the catastrophe!/ Quiz 3000 - Du bist die Katastrophe! (2002)
ATTA ATTA - Art Has Broken Out!/ ATTA ATTA - die Kunst ist ausgebrochen! (2003)
Bambiland (2003)
Atta-Bambi Pornoland (2004)
Parsifal (2004)
Art and Vegetables, A. Hipler/ Kunst und Gem se, A. Hipler (2004)
Area 7- St. Matthew s Expedition/ Area 7- Matth usexpedition (2006)
Joan of Arc - Scenes from the life of St. Joan/ Jeanne d Arc - Szenen aus dem Leben der Heiligen Johanna (2008)
The Current State of Things/ Zwischenstand der Dinge (2008)
A Church of Fear for the Stranger in Me/ Ein Kirche der Angst vor der Fremden in Mir (2008)
Mea Culpa: A ReadyMade Opera/ Mea Culpa: ein ReadyMadeOper (2009)
Actions and Installations
My Felt, my Fat, my Hare!/ Mein Filz, mein Fett, mein Hase! (1997)
Passion Impossible: 7 Day Emergency Call for Germany/ Passion Impossible: 7 Tage Notruf f r Deutschland (1997)
Chance 2000 - Election Campaign Circus 98/ Chance 2000 - Wahlkampfzirkus 98 (1998)
Chance 2000 - Bathing in Lake Wolfgang/ Chance 2000 - Baden im Wolfgangsee (1998)
Please Love Austria: First Austrian Coalition Week/ Bitte liebt sterreich: erste sterreichische Koalitionswoche (2000)
Action 18/ Aktion 18 (2002)
Church of Fear (2003)
The Animatograph, Iceland Edition: House of Obsession/ Der Animatograph, Island Edition: House of Obsession (2005)
The Animatograph, German Edition: Odin s Parsipark/ Der Animatograph, Deutschland Edition: Odins Parsipark (2005)
The Animatograph, Africa Edition: The African Twin Towers/ Der Animatograph, Afrika Edition: The African Twintowers (2005)
Kaprow City (2006)
Trem Fantasma - First Prototype for an Operatic Ghost Train/ Trem Fantasma - Erster Prototyp einer Operngeisterbahn (2007)
18 Images per Second/ 18 Bilder pro Sekunde (2007)
Cross-mutilation/ Querverst mmelung (2008)
The King Lives Within Me/ Der K nig wohnt in mir (2008)
To Burn Oneself With Oneself - The Romantic Damage Show (2008)
Television Programs
Talk 2000 (1997)
U-3000 (2000)
Freakstars 3000 (2002)
The Pilots - 10 Years of Talk 2000/ Die Piloten - 10 Jahre Talk 2000 (2007)
Radio Plays
Radio P.S.1 Radio show (1999)
Camp without Limits/ Lager ohne Grenzen (1999)
Rosebud (2002)
18 Radio plays in one Second/ 18 H rspiele in einer Sekunde (2006)
Book
Heaven Can t Be as Beautiful as Here: A Cancer Diary/ So sch n wie hier kanns im Himmel gar nicht sein: Tagebuch einer Krebserkrankung (2009)
F OREWORD
Alexander Kluge
My friend Christoph Schlingensief is a unique artist. One of his central qualities (which remains constant with the continual alternation of his themes and artistic means) is his CAPACITY FOR COMMITMENT: the firm will, regardless of what is produced as a result, to be authentic, to abandon oneself directly to an experience and to react immediately. As they say in the German classics: and if you don t risk your life, you won t win it .
Such a stance is a radical character trait of the modern as propagated by Joseph Beuys, whom Schlingensief artistically follows. Schlingensief is open to all postmodern expressive forms, he likes to draw on this reservoir, but he grinds it through the mills of the modern. What emerges is the new raw material with which he works.
I am writing this preface on the morning after Schlingensief s phenomenal success at the Burgtheater in Vienna, where he staged his play Mea Culpa , which he describes as a Ready-Made-Opera . It deals with a theme that drives him: death. Since the baroque, it has been a central theme of art. If one looks at Schlingensief s earlier work, one notices that he has always been preoccupied with this theme, and not only now as a result of his illness with cancer. As is the case with his earlier work, in this new piece Schlingensief is also concerned with the deconstruction of death through jokes, chaos, and the demise of a diametrically opposed kind of theatre experience. This double strategy, to place a visceral theatre [ Theater der Handgreiflichkeit ] next to a theatre of art, is characteristic of Schlingensief s work. It connects, for example, the formal world of Richard Wagner with the comedies of Ferdinand Raimund or Jacques Offenbach. Above all, Schlingensief continues in the tradition not only of Beuys, but also of that north German hero Till Eulenspiegel, whose principle works have unfortunately not been passed down. 1
I met Christoph Schlingensief, whose artistic standing was already familiar to me, some fifteen years ago at the burial of our shared friend and colleague, the actor Alfred Edel. We both delivered eulogies. Alfred Edel had acted in my films and in the films and revues of Schlingensief. Edel was an icon of the German Autoren Films and is now also - posthumously - an intermediary when I have an argument with Schlingensief.
Initially I exchanged ideas with Schlingensief about his films. The German Chainsaw Massacre and