Ulf Aminde and Felix Ensslin on Jenny the Pirate

Dora wrote...

Tabu: I would like to call not to the stage our guests for today: Ulf Aminde, Ellen Blumenstein, Felix Ensslin. Ladies and Gentlemen, a warm applause for them.

(The guests enter. Ulf Aminde goes directly to the pianist and begins to read accompanied by her piano)

Ulf Aminde:

“Lieber Papa, mir geht es gut.  Continue reading

Something I found while transcribing the interview with Frank Matzke

Dora wrote...

Frank Matzke and the hArt times theater, July 27

I therefore demand it explicitly, again, because I wanted to know whether your way of working includes the emotional manipulation of the audience as a concept. So for example, by choosing a particular music, or by choosing a particular topic? Continue reading


Dora wrote...

Die Dokkyo Universität bei der dOCUMENTA(13)

Am 22. Juni war die Dokkyo Universität zu Gast bei der “Klau Mich Show: Radicalism in society meets experiment on TV”, einem Projekt im Rahmen der dOCUMUENTA(13), zu der das Mitglied der Deutschen Abteilung, Prof. Joachim Scharloth, als Diskutant eingeladen war. Die documenta ist eine der bedeutendsten Ausstellungen für zeitgenössische Kunst. Sie findet alle fünf Jahre in Kassel statt und dauert 100 Tage. Die “Klau Mich Show” ist ein TV- und Performance-Projekt von Dora García in Zusammenarbeit mit Jan Mech(Moderator), dem Theater Chaosium Kassel, dem Offenen Kanal Kassel, Ellen Blumenstein und Samir Kandil. Es folgt der Bericht von Joachim Scharloth. Das Video der Show ist online

Hi Leon. Why is it always so late? by Peter Cross

Dora wrote...

Hi Leon
Why is it always so late? I read your contribution again after 2 weeks and I thought, wow. You  instantly understood the link between destruction and protection.
1. What might or ought the artist and her/his art seek to destroy, in the service of protecting, or opening up, a vital space?Yes this ‘vital space’ is also an art space. But not just an art space: it is a space for politics and the body. The vital space is also the space dividing artists from their audience: the space policed by the museum with is careful management of this boundary. What can  first be ‘destroyed’ is the sense of the lonely artist, the author confronted by the world, the nineteenth century idea that has been gradually transformed into the self-invented cultural worker negotiating the possibilities of the culture industry in its new formation as a knowledge factory.
So what is being destroyed is beyond the idea of the work of art as a product: what is being destroyed is the concept of the artist as a brand, as a product.
Many people are grappling to find a way out of this confined space. Many artists are fighting for new ways to be part of the new cultural dissidence in the West. It’s a question of finding the clear political message hidden within the bushes of ideology in the West (when they leave the West, everything looks clearer, but is it?). And this – process of dissidence, of making a global reach –  has been happening for a long time. Continue reading