By Tara Forrest, Anna Teresa Scheer
The paintings of acclaimed German artist Christoph Schlingensief spans 3 a long time and a various diversity of fields, together with, movie, tv, activism, opera, and theatre. Christoph Schlingensief: paintings with out Borders is the 1st booklet to be released in English on Schlingensief’s groundbreaking, politically engaged physique of labor. best students within the box provide a severe review of Schlingensief’s hybrid perform, and an interview with Schlingensief himself offers the reader with perception into earlier and current tasks. The booklet might be a vital source for artists, curators, scholars, and lecturers within the fields of theater and function reviews, movie reviews, cultural stories, German reports, political activism, and artwork history.
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Additional info for Christoph Schlingensief: Art without Borders
Working strictly against the kind of historical realism that characterizes, for example, Oliver Hirschbiegel’s detailed portrayal of the Führer’s 41 Christoph Schlingensief: Art Without Borders last days in his film Downfall (2004), Schlingensief suggests that there is more truth in the over-the-top: ‘In the exaggerated situation, [there is] more truth to be found than in this compulsion to make something realistic. 13 That is, only by making visible the conditions of its own production, through hyperbole and self-reflexivity, can film represent reality in a way that is true and honest.
Inge Freitag and Wolf Schwartz (1985), ‘Heut’ würde ich eine solche Ausbildung nicht mehr machen,’ Filmfaust 45, no pagination. 17. Schlingensief, C. (1998), ‘Wir sind zwar nicht gut, aber wir sind da’, in J. Lochte and W. ), Schlingensief! Notruf für Deutschland, Hamburg: Rotbuch Verlag, p. 27. 18. Kluge, A. (2007), ‘In erster Linie bin ich Filmemacher: Begegnung mit Christoph Schlingensief ’, in S. Huber and C. ), Magazin des Glücks, Vienna: 36 The Tunguska Manifesto: Schlingensief’s Critique of Film and the Restitution of Experience Springer-Verlag, p.
Dawson, J. (1977), ‘But why are the questions so abstract: An Interview with Alexander Kluge’, in J. Dawson, Alexander Kluge and the Occasional Work of a Female Slave, New York: Zoetrope, p. 37. 32. , Kluge, A. and Reinke, W. (1988), ‘Word and Film’, trans. M. Hansen, October, 46, Fall, p. 87. 33. See Schlingensief, C. (1998), ‘Wir sind zwar nicht gut, aber wir sind da’, p. 27. 34. See Schlingensief, C. (1998), p. 35. 21 Christoph Schlingensief: Art Without Borders 35. Schlingensief, C. and Koegel, A.