1. Malice in Sonderland


    from Korhan Erel / Added

    Malice in Sonderland deals with Lewis Carroll’s famous novel Alice in Wonderland (1865). The experimental audiovisual live performance based on a cooperation in form of a real time audiovisual performance by sound composer Korhan Erel from Istanbul and Viennese media artist Alexandra Reill in MAK - Museum of Applied Arts Vienna in January 2010. The performance starts with original material from the 1933 Alice in Wonderland film directed by Norman Z. McLeod. Using experimental digital methods, the artists examine the theme and the story of this profound fairytale with a phantasmagoric improvisation composed from digital images and abstract sound collages. Erel and Reill question the societal relevance of Carroll’s bizarrely adventuresome story. The artists’ research on the topic led them to formulate the title anew: Malice in Sonderland. Malice: this change in the wording refers to the desire to injure, to do damage, to act in a hostile manner. And Sonderland? What characterizes capitalist societies today? What makes such worlds so special? Must—and can—a “hero” or a “heroine” such as Alice find her bearings and make her way in a society characterized by competition, in which one must fight in order to ultimately prevail? What choices does an individual have in unscrupulous societies that are oriented toward high performance? Korhan Erel and Alexandra Reill pose these and numerous other questions on their journey through the twisted paths of Carroll’s Wonderland, and in doing so they create a “brave new world through the looking glass”.

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    • Too little, too late by Klub Zwei, Simone Bader and Jo Schmeiser


      from Klub Zwei / Added

      50 Plays / / 0 Comments

      Too little, too late “A word emerges from the people or an individual, it comes from the psyche and is not void of any context. If someone finds a word like compensation (Wiedergutmachung) acceptable, it doesn’t mean I do. I only find restitution acceptable. It’s not compensation (Wiedergutmachung)!” Unnamed interviewee in Claude Lanzmann’s film Pourquoi Israël (192 min., 4:3, F 1973, production: STEPHANE FILMS) While working on the film Things. Places. Years (70 min., 4:3, A 2004, production: AMOUR FOU) on Jewish women whose families had been displaced by the Nazis but who had been able to flee to London, we were met with a great deal of skepticism particularly by women of the second generation. At the time we hadn’t been aware of the grave differences in the effects of the Nazi genocide of the Jewish people of Europe on the descendants of both sides. The difference between the descendants manifests itself, for instance, in the (lack of) freedom to choose whether to deal with Nazism and the Shoah or not: it’s the difference between choosing to and having to, which is also visible in the descendants’ use of language, terms and phrases. In Austria, words frequently heard in connection with the issue are “Wiedergutmachung” (the English translation of which can be making amends, compensation or restitution –Trans.) or even the term “Schlussstrich” (literally: drawing the line, signalizing completion, finalization or closure –Trans.). By contrast, “too little, too late” was the phrase we heard when interviewing the women in London about what they thought of Austria’s restitution politics and policies. In addition to excerpts from Things. Places. Years our piece also includes clips from a conversation between Andreas Gruber and Greta Fattal in Israel for Gruber’s film Sonderauftrag Linz (90 min., 4:3, A 1999, production: CULT FILM). Greta Fattal had recognized two paintings that had belonged to her father: Rettung auf hoher See by Anton Melbye (1847) and Rückkehr der Fischer bei Sturm by Heinrich Petersen-Angeln (1900) in the Mauerbach auction catalogue prepared by the London auction house Christie’s. She traveled to Vienna in 1998 where both paintings were restored to her. Greta Fattal had decided to be in the film, but not with her image. Because of this, she can only be seen from behind sitting in front of the second painting. We were intrigued by her decision, which can also be read as a refusal to relinquish her own image and story to a society largely made up of the descendants of Nazi perpetrators and followers (MitläuferInnen) for them to identify without any regard. Klub Zwei Translation: Erika Doucette

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