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ULRIKE OTTINGER
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Ulrike Ottinger
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 ...
Ulrike Ottinger: World Images
Ulrike Ottinger belongs to those pioneers of art cinema who recognised the possibilities of film as a continuation of their work early on. Her output goes far beyond that of a film-maker, however: she is an artist, photographer, author and director.She has been making film history since the 1970s, and her works have been shown at the most important international festivals and have won numerous prizes. Her artistic work caused a sensation at the Biennale di Venezia (1980), documenta 11 (2002) and the 3rd Berlin Biennale (2004).This catalogue accompanies the exhibition at kestnergesellschaft in Hannover. The various aspects of her œuvre – film, opera and theatre directing, stage design, photography and ritual objects inspired by her travels – all flow into a large-scale installation extending through several spaces.For the first time this catalogue comprehensively documents Ulrike Ottinger's exhibitions from the 1960s up to the present.English and German text.
Ulrike Ottinger
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.
Ulrike Ottinger: Journée D'un G.I.
"Journée d'un G.I." features paintings and serigraphs from the 1960s. Ulrike Ottinger's often multi-part works, or works divided into several pictorial fields, reveal a passion for storytelling that ultimately finds its fulfillment in the medium of film. She became somewhat of a cult star in cineaste circles with her Berlin trilogy and its outstanding second film "Freak Orlando" (1981). In 2019, in the diary "Paris Calligrammes", she went on to show memories of her formative decade in Paris in a cinematic collection, which brings us right to the heart of the pictorial narratives of "Journée d'un G.I." It's the mid-1960s, Ulrike Ottinger is a painter, when Paris is shaken by images of war and revolution. At home in Nouvelle Figuration, a Parisian form of Pop Art, it is everyday scenes, comics, photography and advertising that determine the narrative style of Ottinger's images. Day-to-day rituals mingle with references to historical figures and literary heroes. While the daily battles rage, her heroes are taking a break; Che Guevara as "Le penseur" is lolling on a sofa while sipping a drink; Allen Ginsberg has "No more to say and nothing to weep for."
Cosmos Ottinger
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.
Queer Looks
Queer Looks is a collection of writing by video artists, filmmakers, and critics which explores the recent explosion of lesbian and gay independent media culture. A compelling compilation of artists' statements and critical theory, producer interviews and image-text works, this anthology demonstrates the vitality of queer artists under attack and fighting back. Each maker and writer deploys a surprising array of techniques and tactics, negotiating the difficult terrain between street pragmatism and theoretical inquiry, finding voices rich in chutzpah and subtlety. From guerilla Super-8 in Manila to AIDS video activism in New York, Queer Looks zooms in on this very queer place in media culture, revealing a wealth of strategies, a plurality of aesthetics, and an artillary of resistances.
Lesbian Rule
With hair slicked back and shirt collar framing her young patrician face, Katherine Hepburn's image in the 1935 film Sylvia Scarlett was seen by many as a lesbian representation. Yet, Amy Villarejo argues, there is no final ground upon which to explain why that image of Hepburn signifies lesbian or why such a cross-dressing Hollywood fantasy edges into collective consciousness as a lesbian narrative. Investigating what allows viewers to perceive an image or narrative as "lesbian," Villarejo presents a theoretical exploration of lesbian visibility. Focusing on images of lesbians in film, she analyzes what these representations contain and their limits. She combines Marxist theories of value w...
