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Since 1974, German filmmaker Ulrike Ottinger has created a substantial body of films that explore a world of difference defined by the tension and transfer between settled and nomadic ways of life. In many of her films, including Exile Shanghai, an experimental documentary about the Jews of Shanghai, and Joan of Arc of Mongolia, in which passengers on the Trans-Siberian Express are abducted by Mongolian bandits, she also probes the encounter with the other, whether exotic or simply unpredictable. In Ulrike Ottinger Laurence A. Rickels offers a series of sensitive and original analyses of Ottinger’s films, as well as her more recent photographic artworks, situated within a dazzling thought experiment centered on the history of art cinema through the turn of the twenty-first century. In addition to commemorating the death of a once-vital art form, this book also affirms Ottinger’s defiantly optimistic turn toward the documentary film as a means of mediating present clashes between tradition and modernity, between the local and the global. Widely regarded as a singular and provocative talent, Ottinger’s conspicuous absence from critical discourse is, for Rickels, symptomatic of the art cinema’s demise. Incorporating interviews he conducted with Ottinger and illustrated with stunning examples from her photographic oeuvre, this book takes up the challenges posed by Ottinger’s filmography to interrogate, ultimately, the very practice-and possibility-of art cinema today. Laurence A. Rickels is professor of German and comparative literature at the University of California, Santa Barbara, and the author of several books, including The Case of California, The Vampire Lectures, and the three-volume Nazi Psychoanalysis (all published by Minnesota). He is a recognized art writer whose reflections on contemporary visual art appear regularly in numerous exhibition catalogues as well as in Artforum, artUS, and Flash Art.
"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. ULRIKE OTTINGER (*1942, Constance) is one of the most import- ant German filmmakers. Moving to Berlin in 1973, she became a pioneer of avant-garde cinematography. Ottinger's photographic works, feature films and documentaries have been shown at major international festivals and retrospectives, including the MoMa in New York, Berlinale, the documenta and the Venice Biennale. TABEA BLUMENSCHEIN (1952-2020) was a cult figure of West Berlin's queer feminist subculture in the 1970s and 80s. For about ten years, she played a key role in Ottinger's films as leading actress and costume designer, and was part of legendary avant- garde punk collective Die tödliche Doris. In the 1990s she withdrew from the public, yet remained active as an artist until her death.
This volume offers an overview of German artist Ulrike Ottinger (born 1942), whose films explore the tensions between documentary and fiction. It includes reproductions of installations, such as Floating Flood (2011), an audio-visual collage of the artist's travels, drawing from four decades of cinematic creativity.
The grotesque - the exagggerated, the deformed, the monstrous - has been a well-considered subject for students of comparative literature and art. In a major addition to the literature of art, cultural criticism and feminist studies, Mary Russo re-examines the grotesque in the light of gender, exploring the works of Angela Carter David Cronenberg Bahktin Kristeva Freud Zizek. Mary Russo looks at the portrayal of the grotesque in Western culture and by combining the iconographic and the historical, locates the role of the woman's body in the discourse of the grotesque.
Explores notions of personal and cultural identity, and offers an introduction to the work of women in literature, film, dance, and visual art in Germany.
Ulrike Ottinger's films and photographs investigate remote corners of the world, using fictional and documentary means. Retrospectives of her works have been held at MoMA in New York and Tate Modern in London. In 2002 she took part in documenta 11.
"In celebration of his seventy-fifth birthday, this monograph - the most comprehensive to date-features a collection of Gertsch's most important large-format paintings, monumental woodcuts, and a broad selection of gouaches and watercolors from the late sixties to the present. A catalogue raisonne of the paintings is included in the volume."--BOOK JACKET.