Nach Titel durchsuchen

Sie sehen 41 - 50 von 2,692 Elemente für :

  • Kunstgeschichte x
  • Primary Language: de x
Alles löschen

Der szenografische Impuls

Christoph Schlingensief und Allan Kaprow

Philip Ursprung

Philip Ursprung, an expert on Allan Kaprow, met Schlingensief at an exhibition about Kaprow in Munich in 2006 and then, at Schlingensief’s Kaprow City and Trem Fantasma installations in 2006 and 2007. Ursprung describes the two installations as being situated between sculpture and performance, art and theatre, spatiality and temporality.

Volume-editor Lore Knapp, Sven Lindholm and Sarah Pogoda

Dietrich Kuhlbrodt

Dietrich Kuhlbrodt shares memories of his time working with Christoph Schlingensief, who used to address Kuhlbrodt and his wife Brigitte Kausch as his parents. Following decades of working for Schlingensief as an actor, Kuhlbrodt recalls Schlingensief’s humour and his unpredictability as core concepts in all his works – challenging for everyone, his collaborators, his home institutions, his audiences, and for himself.

Volume-editor Lore Knapp, Sven Lindholm and Sarah Pogoda

Volume-editor Lore Knapp, Sven Lindholm and Sarah Pogoda

Flowing Space

Theater – Raum – Bewegung bei Christoph Schlingensief und Friedrich Kiesler

Teresa Kovacs

The paper investigates different constructions of space in Christoph Schlingensief’s theatrical work, exploring connections with Frederick Kiesler’s thoughts on theatre, space and movement. It considers Kiesler’s most important conceptions, including the Raumbühne (1924), his vision of the Endless House, the Universal, and his theory of ‚Correalism‘. Against this background, the paper describes Schlingensief’s spatial arrangements as flowing spaces which connect architectural and cinematic modes of perception.

Jörg van der Horst

Jörg van der Horst was recruited by Christoph Schlingensief in 1998 to work for him as an artistic director, after Schlingensief had read van der Horst’s M.A. thesis about Schlingensief’s democratic media art. In the present paper, van der Horst criticises the way Schlingensief’s transgressive and transformative way of making art and politics has failed to have an impact on the art of today.

Heilung durch Kunst?

Schlingensiefs Reenactments der Avantgarden der Performancekunst (Ball, Brus, Beuys und Nitsch)

Jasmin Degeling

This paper argues that Schlingensief’s autobiographical techniques of self-care, which he developed after a lung cancer diagnosis in 2008, relate to his reception of the aesthetic and therapeutic concepts of the avant garde and neo-avant garde. Schlingensief’s theatre explores the modern nexus of salvation and self-care and develops what can be called an archaeology of the modern history of aesthetic therapeutics, stretching from Wagner’s concept of ‘Art as Religion’ to the avant-garde movements of the 20th century. The medium of Schlingensief’s approach to the historicity of these avant gardes is both filmic and theatrical reenactments of specific historical performances. Those settings, references and modes of citation are discussed more closely in the paper. While questioning the avant-garde movements as a sort of modern salvation story, Schlingensief’s own aesthetic concepts are deeply informed by those very movements. This is particularly rendered by the so-called ‘African Opera Village’, which key concept Schlingensief describes as: “Art Can Heal”.

„Inzest und Intrigen, Getöse und Krawall“

100 Jahre Adolf Hitler – Die letzte Stunde im Führerbunker als kontrafaktisches Geschichtsnarrativ

Heinz-Peter Preusser

Hitler as a historical figure has an aura – which any deconstruction has to take into account. Schlingensief’s film 100 Jahre Adolf Hitler accordingly seeks to undermine all reconstruction, any attempted naturalism of doom up to the point of the Führer’s suicide, and counters this with merely anarchic – and false – impressions of the historical circumstances. The movie functions as a counterfactual narrative of the last hour in the Führerbunker. Through drastic action, through grotesque bodies, Schlingensief tries to generate immediacy – and yet often becomes mired in dilettantism. Thus, neither Schlingensief’s attempts at avant-gardism nor his device of abusing the Hitler myth succeed in rendering the myth unserviceable, in demythologising it for future use by neo-Nazism.

Sarah Pogoda

The paper explores three projects by Christoph Schlingensief, Müllfestspiele (1996), Seven X (1999) and Erster Attaistischer Kongress (2002), none of which has previously been examined in detail by scholars. The paper first identifies the tremendous extent to which Schlingensief expanded on the avant-garde traditions of the Berlin Volksbühne. It then goes on to demonstrate how Schlingensief’s artistic research into the avant garde generated and pursued a paradigmatic change in institutional critique. In the process, Schlingensief revealed artistic strategies for gaining autonomy with and within institutions. This also means that, in his artistic practice, Schlingensief had already anticipated and implicitly refuted Andrea Fraser’s later theoretical framing of the supposed limitations of institutional critique by artists.