LAZNIA 1 2016 - Christoph Schlingensief vol. 2
Film selection
Warsaw, Nowy Theatre: 10-13 October
Gdańsk, ŁAŹNIA CCA, 19-21 October

Christoph Schlingensief was a versatile German artist – film, opera, radio and theatre director, talk show host, performer; total artist and uncompromising provocateur whose voice in the discussion about the cultural and political situation in Germany was important and made itself heard. Schlingensief started as experimental filmmaker and made his name with the “German Trilogy”: 100 Years of Adolf Hitler, The German Chainsaw Massacre and Terror 2000. His next important works were Foreigners out! Schlingensief's Container and production of Parsifal at the Bayreuth festival. The artist also cooperated with the Volksbühne theatre in Berlin – this collaboration continued until his death in 2010. In 2008 he was diagnosed with lung cancer. Schlingensief shared his struggle with illness and death in his journal Heaven Could Not Be as Beautiful as Here. In 2011 he posthumously won the Golden Lion at the Venice Biennial for the German national pavillion. During the first Schlingensief retrospective in Poland in 2012 the audience could see his film output, whereas this year's screenings in Warsaw and Gdansk will present his theatre and television works discussing politics and exclusion: unemployment, poverty, refugee crisis, disabilities. Schlingensief worked with difficult, distressing and uncomfortable subjects, and defied all conventions while getting to the bottom of the problem. He played an intellectual, witty and complex game with the spectator, sparkling with absurd humour, full of associations and references. He would often say that, just like his father, a pharmacist, he administers small doses of poison to the spectators, inORDER to cure them from the diseases of our times once and for all.
The artist's friend and producer, Frieder Schlaich (Filmgalerie 451, Berlin), playwright Carl Hegemann (Volksbühne), and theatrologists dr Joanna Puzyna-Chojka (University of Gdansk) and dr Anna R. Burzyńska (Jagiellonian University) will also participate in the screenings.
Christoph Schlingensief vol. 2 is arganized in frame of Germen Week. Full progremme here.
10–13 October 2016
Nowy Teatr, ul. Madalińskiego 10/16, Warsaw
10 October, 7 pm
Animatograph, 78 min
11 October, 7 pm
Atta Atta, 87 min
12 October, 7 pm
Ausländer raus!, 90 min

13 October, 8:30 pm
U3000, 122 min
19–21 October 2016
CSW Łaźnia, ul. Jaskółcza 1, Gdansk
19 October, 7 pm
U3000, 122 min
20 October, 7 pm
Animatograph, 78 min
Guests:  Joanna Puzyna-Chojka
21 October, 7 pm
Ausländer raus!, 90 min

Films with Polish subtitles, free admission!
"U3000", 122 min
Episode 1: One Thousand Theories – Diedrich Diedrichsen (2000, 43 minutes)
Christoph Schlingensief – interview (2001, 15 minutes)
Episode 2: Joseph Beuys + India (2000, 35 minutes)
Episode 7: Africa (2001, 29 minutes)
Running time: 122 minutes
If ever, while sitting on the underground, you wanted to do something crazy – we are sorry, but Schlingsief already did it all. In the eight-episode talk show U3000, aired on German MTV, Christoph Schlingsief assumed the triple role of director, screenwriter and host. In every episode he dressed up as surprising characters – for instance, a hedonistic TV presenter, Jesus, or a revolutionary. The show was filmed in rushingCARS of the Berlin underground, and random passengers would sit right next to German pop stars, AIDS sufferers, or families on welfare. The invited guests did not know what subjects would be talked about in the programme, which resulted in unexpected situations, revealing the participants' views on life, often xenophobic and snobbish. U3000 is only seemingly a rollercoaster of chaotic and absurd scenes. In fact, it cleverly criticises the state, its institutions, society and media. The episode chosen for the screening, One Thousand Theories, introduces the concept of the format and contains the greatest accumulation of nonsensical situations. The second episode is about Joseph Beuys, one of the most important artists to Schlingensief. The last one is devoted to Africa, the source of the director's inspiration and fascination.

series of animatographs (2001, 8 minutes)
African Twin Towers (film journal, 2005-2009, 70 minutes)
running time: 78 minutes
Animatograph is Schlingensief's installation, resembling a rotating stage with elements of scenography. The artist used the animatograph for the first time in his production of Wagner's opera Parsifal in Bayreuth in 2004. Soon afterwards he transformed the animatograph into a rotating stage which could be easily transported to all corners of the world, reconstructed and complemented with content referring to the place where the installation was presented. The animatograph was created out of the need to provoke the interactive participation of the spectators – to expand their role from passive consumers to active co-creators: the theatre audience participated in the show by walking around the animatograph and creating their own play. African Twin Towers tell the story of a deranged director – Schlingensief played this role himself. The film is set in Namibia (former German colony in southwest Africa) and its idea was to reconstruct the terrorist attack on the World Trade Center, in African slums. It also contains references to Wagner, colonialism, and Schlingensief's artistic struggle with himself. The African Twin Towers are a mixture of documentary, feature and experiment. Truth is mixed with deceit and life is mixed with art.

Ausländer raus!
Foreigners out! Schlingensief's Container. Dir. Paul Poet, 2002, 90 minutes
Film documentation of Schlingensief's 2000 action, commissioned by the Wiener Festwochen and realised soon after the general election in Austria, won by the populist, right-wing FPÖ. The artist, inspired by a Member of the European Parliament, who talked about the possibility of establishing concentration camps in Austria, proposed building a place of detention in the very centre of Vienna. Schlingensief's idea was to draw a parallel between concentration camps and the Big Brother TV format, very popular at that time. 12 refugees were invited to the programme – they lived in the container for one week and were observed by cameras. The audience voted every day for the person who should leave the programme and be deported. The winner would be granted a residence permit. The spectators did not know whether the participants were real refugees nor whether the losers were really deported. Schlingensief's action resulted in a public debate on the Austrians' attitude to foreigners and the Austrian immigration policy. Due to the refugee crisis in Europe, Schlingensief's work has again become very topical.
A shot from Animatograph
Atta Atta
The First Attaistic Film (2003, 52 minutes)
Behind the Scenes (18 January 2004, 24 minutes)

After the attack on the WorldTRADE CENTER the artist joined the debate on terrorism. He expressed his thoughts in the ATTA ATTA theatre trilogy, a congress on the subject of effective art, a cycle of performatively created paintings, and even a film. All those actions together contributed to the phenomenon called “attaist art”, the aim of which, according to Schlingensief, was to break the final barriers of art through pure actionism. Attaism had much in common with total art – it had an impact on the spectator not only in a gallery, theatre or cinema, but it permeated his or her life and world. The artist sought the answer to the question how to create effective art that would not eventually turn out to be a crime or act of terror. He wondered whether art can be a weapon but not become tool of propaganda and deprive the artist of his independence.
The First Attaistic Film is a record of a performance – a group of elegantly dressed people are walking through Berlin at night, in the company of musicians dressed in folk clothes. Behind the Scenes is a short documentary showing the backstage of the Volksbühne theatre, moments before the start of the Atta Atta—Art Has Broken Out! show.
Part of the programme of the Polish-German jubilee year ŚWIĘTUJEMY!/WIR FEIERN! organised by the Goethe-Institut and the German Embassy in Warsaw on the 25th anniversary of the Polish-German Treaty on Good Neighbourliness and Friendly Relations.
25 Years
Nowy Teatr
The City of Gdańsk
Laznia Centre for Contemporary Art
Municipal Institution of Culture