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Beginning with an interpretation of Schlingensief’s earliest long film, Tunguska, this paper examines the artist’s understanding of avant garde as an ideal of art. The paper argues that both a close connection between art and research and the mystificatory notion of radical autonomy, the idea that art is not only closely connected to life (Luhmann) but can develop independent dynamics as if it were alive by itself, are crucial for many of Schlingensief’s works between 1984 and 2010.
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