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Künstlerische Avantgardeforschung und Institutionskritik in Christoph Schlingensiefs Müllfestspiele (1996), Seven X (1999) und Erster Attaistischer Kongress (2002). / Pogoda, Sarah.
Christoph Schlingensief und die Avantgarde. gol. / Lore Knapp; Sven Lindholm; Sarah Pogoda. Fink Verlag, 2019.

Allbwn ymchwil: Pennod mewn Llyfr/Adroddiad/Trafodion CynhadleddPennod

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Pogoda, S 2019, Künstlerische Avantgardeforschung und Institutionskritik in Christoph Schlingensiefs Müllfestspiele (1996), Seven X (1999) und Erster Attaistischer Kongress (2002). yn L Knapp, S Lindholm & S Pogoda (gol.), Christoph Schlingensief und die Avantgarde. Fink Verlag, Christoph Schlingensief und die Avantgarde, Bielefeld, Yr Almaen, 2/02/17.

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Pogoda, Sarah "Künstlerische Avantgardeforschung und Institutionskritik in Christoph Schlingensiefs Müllfestspiele (1996), Seven X (1999) und Erster Attaistischer Kongress (2002)"., Knapp, Lore Lindholm, Sven Pogoda, Sarah (golygyddion). Christoph Schlingensief und die Avantgarde. Fink Verlag. 2019.

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TY - CHAP

T1 - Künstlerische Avantgardeforschung und Institutionskritik in Christoph Schlingensiefs Müllfestspiele (1996), Seven X (1999) und Erster Attaistischer Kongress (2002)

AU - Pogoda, Sarah

N1 - author has asked NOT to validate until publication of the book

PY - 2019/3/25

Y1 - 2019/3/25

N2 - The paper explores three projects by Christoph Schlingensief, Müllfestspiele (1996), Seven X (1999) and Erster Attaistischer Kongress (2002), none of which has previously been examined in detail by scholars. The paper first identifies the tremendous extent to which Schlingensief expanded on the avant-garde traditions of the Berlin Volksbühne. It then goes on to demonstrate how Schlingensief’s artistic research into the avant garde generated and pursued a paradigmatic change in institutional critique. In the process, Schlingensief revealed artistic strategies for gaining autonomy with and within institutions. This also means that, in his artistic practice, Schlingensief had already anticipated and implicitly refuted Andrea Fraser´s later theoretical framing of the supposed limitations of institutional critique by artists.

AB - The paper explores three projects by Christoph Schlingensief, Müllfestspiele (1996), Seven X (1999) and Erster Attaistischer Kongress (2002), none of which has previously been examined in detail by scholars. The paper first identifies the tremendous extent to which Schlingensief expanded on the avant-garde traditions of the Berlin Volksbühne. It then goes on to demonstrate how Schlingensief’s artistic research into the avant garde generated and pursued a paradigmatic change in institutional critique. In the process, Schlingensief revealed artistic strategies for gaining autonomy with and within institutions. This also means that, in his artistic practice, Schlingensief had already anticipated and implicitly refuted Andrea Fraser´s later theoretical framing of the supposed limitations of institutional critique by artists.

KW - Christoph Schlingensief

KW - Avant-Garde

KW - Performance

KW - Institutional Critique

KW - Theatre

KW - Volksbühne

KW - Dilettantism

KW - German Studies

UR - https://brill.com/view/title/53677

M3 - Pennod

SN - 978-3-7705-6413-2

BT - Christoph Schlingensief und die Avantgarde

A2 - Knapp, Lore

A2 - Lindholm, Sven

A2 - Pogoda, Sarah

PB - Fink Verlag

T2 - Christoph Schlingensief und die Avantgarde

Y2 - 2 February 2017 through 4 February 2017

ER -