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The art of Boris Lurie (* 1924, Leningrad) and Wolf Vostell (*
1932, Leverkusen) is determined by the break in civilization in
Germany in 1933, which made the German genocide of German and
European Jews (the Shoah) possible. Both artists make the Shoah the
subject of their work in a radical way. They work - initially
independently of one another - with the means of painting and
during the 1950s they resort to the stylistic devices of the first
avant-garde: Cubism, Dadaism, Surrealism. They strategically employ
collage and assembly techniques. Vostell later develops the subject
further in the media of happening and video art while Lurie takes
up writing. In 1964 the artists met in New York and entertained a
lifelong friendship.
As a painter, filmmaker, and photographer, Ulrike Ottinger has
created an entire artistic universe, a Cosmos Ottinger. Her
transdisciplinary approach is groundbreaking today but Ottinger is
also a pioneer of queer art, post-colonial criticism, and the
confrontation with fascism and persecution. These questions are all
still urgent today: How can we locate contemporary feminist, queer,
and aesthetic debates historically? And how does one situate these
debates in a museum setting? The catalogue, edited by the
Kunsthalle Baden-Baden, documents this part of her work but also
addresses these theoretical and art historical questions raised by
Ottinger's searching and investigative approach.
"She, a woman of high beauty, created like no other to be Medea,
Madonna, Iphigenia, Aspasia, decided one sunny winter day to escape
her loneliness and to leave La Rotonda. She bought a ticket 'Aller
jamais retour. Berlin Tegel'." This is the opening scene of Ulrike
Ottinger's momentous 1979 film Ticket of No Return-the woman of
high beauty was Tabea Blumenschein. Unconcerned by all conventions,
Blumenschein adored transformation: in a distinctive, avant-garde
aesthetic, the two women embraced various different identities and
challenged many norms, in the process revealing the performativity
of gender. Initiating a dialog between the two artists'
perspectives, these books bring together for the first time
Blumenschein's drawings with Ottinger's photographs from their
joint performance sessions.
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