Der status quo Russlands nach der Transformation - Eine defekte Demokratie? (German Edition)
While transitology dealt with the transition from authoritarian rule, the reverse process, the transition from democratic rule, remained almost completely outside the scholarly attention. This special issue will address the problems of the regression of democracy and aims at closing the gap between research on democracy and democratization on one side and the emergence of authoritarian regimes on the other. The contributions of this volume analyse the different phenomena in which decline of democracy fans out: the loss of quality, which means a silent regression; the backslide into hybrid regimes hybridization ; and the breakdown of democracy.
Buy options. And yet I was just another idiot after all. At the end of March he returns to California. The SLA had kidnapped the daughter of the media baron Randolph Hearst on 4th February and demanded a ransom with which they planned to buy food for the needy in California. Thomann is impressed by the situation but feels that he needs to go deeper into Hearst's role and the media coverage "Media Buttocks! He runs through the campus at Berkeley and makes copies of flysheets on which he officially declares that he is in love with Patricia Hearst.
He proclaims that from now on he will be celebrating Valentine's Day on April 4th. He constructs a mobile shrine in an old Ford decorated with paper hearts, plastic flowers and toy guns. The exploit becomes known under the title First Campus Happening. A student newspaper describes the happening as "incomplete and uncritical prudery". Thomann describes the responsible journalist Casey Londale as a "cash cunt". Thomann makes a gift of the car to the Mayfield Gallery.
May Through the video artist Pete Hume, Thomann manages to contact a circle of technically adept hackers. The result is Thomann's short story World Game. Thomann is confronted with computer networks for the first time at Berkeley University, for instance in the network games played by students in the university computer lab. World Game is a literary reflection of this experience. May Thomann finishes planning the satellite performance Globetrotting.
He is supported in the venture by the Contemporary Arts Museum in Houston, Texas, and its director James Hariths, who had established the first video department at the Everson Museum in Syracuse. They represented the great unknown, it made them exotic. I wanted to use one as a means of distribution for a very avant-garde, conceptual video, one that nobody would expect or want.
I wanted to get out, I wanted to move into absolutely geometric space. Thomann meets Ted Dabney of Atari. The middle, digital i. Finally, there is the internet phase with its hypertext-like, networked structure, the basis for the phenomenon of net culture as well as for net art. For a long time, right into the eighties, I failed to recognise that I had been stuck in the media-critical phase. Thomann carries a life-sized crucifix through the campus at Berkeley. Telephone receivers are nailed to Jesus' hands. Second Campus Happening , 1st August The installation was financed by Nolan Bushnell of Atari, whom we were able to fascinate with the concept.
Collateral Crunch was an eleven metre high steel structure in the shape of a clenched fist with an integrated Tesla-spool that we erected at the harbour in Oakland. We worked on it for four months. Craig ran back and forth dressed as a smooth moderator in a fluffy red suit with a raw turkey in his hands, and provided the commentary to the Collateral Crunch Show. It was an incredibly powerful event. But I had lost interest in the whole thing by then. It was over. It was too seventies. January "During an interview for the San Francisco Chronicle I was asked about the political situation in Germany.
I replied, being provocative of course, that I wasn't interested in any of that. I was quoted on this for years to come. But at the time I wanted to get our positions the right way round: I wasn't there to tell the Yanks about the RAF, they should've been telling me all about the Black Panthers. Thomann moves to New York in February He enters into an informal collaboration with art groups like the Video Freex and Raindance.
The result is five editions of the Transition Tapes by the end of April:. Clean it up! Waste to waste! You mighty Atlantic! He makes a collage wall-hanging out of the various responses in the press. I have never really ever done anything in only one medium. Instead I have thoroughly enjoyed combining video or web-video or websites with drawings, photographs, printing, objects and theatre. I am interested in destroying the media. She agreed. The other myth about me is that my work is dedicated to 'communication'. I don't believe in communication! I believe in the great adventure: making an attempt at communication, especially over large distances, whether these are temporal, linguistic, spatial, geographic or gender-based.
That's a particular challenge. It almost never works except for a brief moment or two. Shit, I look for those seconds. A rolling stone gathers no moss. May Thomann is indicted for physical assault for beating up the lorry driver Barry Wolping at a bar in Queens. The reason for the attack is unknown. Thomann has to pay 3, dollars damages and faces bankruptcy. Patricia Hearst is arrested on 19th September. Jupiter Sex is completed shortly afterwards as the 6th part of the Transition Tapes , initially only in a working copy.
Pier Paolo Pasolini is murdered on 1st November. Jupiter Seven is dedicated to him posthumously. The Transition Tapes series is complete. During the concert the lead singer Alan Vega attacks members of the audience who are not watching, and throttles them with the microphone cable.
Thomann is among them: "In a way, it was a total emancipation from the stance that one had somehow adopted when that singer, Alan Vega, attacked me directly. It was something new, different, wild, immediate, dangerous, sexy. The artwork hits back! Then I realised that the music to come had to function differently. At that moment I knew that there was another kind of energy in the whole rock thing, one that can function on a 'the medium-is-the-message' kind of a level.
And that somehow changed my whole life completely. And, above all, it changed my approach to music. From that point on I stopped trying to make music with electronic equipment, I wanted to make electronic equipment with music. What I mean are very specific conditions of social intensity. As a direct result of the "Suicide experience" Thomann lifts his self-imposed ban on "music production" dating from 5th December Thomann performs the role of the 'nameless banker' four times.
I wouldn't leave home for days on end except to go shopping. The New York euphoria had faded away quickly. I felt uneasy, empty; it made me sick. I was running up and down Fifth Avenue swearing at passers-by in my Vorarlberg dialect. I felt like Walter Matthau in Bern. On 13th April , the verdict of the Hearst trial is awaited in San Francisco.
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Although having planned his departure from the United States for weeks, Thomann wants to finish his project on Hearst. He travels to San Francisco, where he runs up and down in front of the courthouse, screaming and spraying "Last Chance" on the pavement in enormous letters. As the verdict is announced — Hearst gets 35 years in prison — he purloins the Ford 'shrine' from the Mayfield Gallery and tries to sink it in the bay. He is taken into custody for five days. Among other activities they drive in a large Skoda van to the original set locations of the Winnetou films near the Plitvice lakes.
Fred Korner. Beginning of May, Thomann arrives in London. At first he lives in the post-hippie Relay commune that had formed around Ken Granger and Ariadne George, and takes part in their Commune-Non-Communicate experiments: planned week-long suspensions of communication between the communards. In a programmatic text the aim of this action is defined as: "To not have any Selbsterfahrung for several weeks.
During Ken Granger's trial for indecently assaulting a minor Thomann meets the London-based psychiatrist Thornton Stark, who has published several papers on 'schizo-analysis' and 'anti-psychiatry'. Having just curated an exhibition on the art of psychiatric patients in care, Stark invites Thomann to the opening of the show in the Perjury Arts Gallery, where Michel Foucault is holding a lecture.
Thomann subsequently begins to take an interest in what he refers to as "the art of minorities". Plans to edit a situationist magazine together; McLaren introduces Thomann to recordings of the group Sex Pistols; Thomann suggests recruiting the Brazil-based Great Train robber Ronnie Biggs as a vocalist for a project with the band. Thomann fades in original newsreel sound footage of the London bombing.
One of the Elvis impersonators is hurt by a bottle thrown by one of the punks in the audience. After the concert Thomann meets Genesis P. Orridge, who shows a great empathy for the performance and introduces Thomann to recordings of Throbbing Gristle. When I last met him three months ago he was a burnout.
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All the life had vanished from his eyes. Orridge in Wreckers Of Civilisation. The cover features one of Thomann's collages, which shows the head of Joseph Beuys exploding. Below it says: "This is not a pipe! It's Joseph Beuys' head exploding. Winter Together with Doris Lasser, Thomann relocates to a farm in Essex where he experiments with synthesisers.
As a result of his punk experiences his concept of electronic music takes a new turn. Thomann takes up painting again. On the occasion of the kidnapping of H. Thomann also distributes wanted posters around the entire site of the Documenta showing a photograph of Schleyer with the caption "Runaway Dog! Answers to the Name of Hansi.
At the last possible moment the Documenta management is able to prevent Anselm Kiefer from suing for damages, because a restorer from Frankfurt manages to restore Kiefer's painting Nibelung Melancholia to its original state without any significant residual damage. The media response to Thomann's action is enormous. The headline of Bildzeitung reads: "That's Enough! The work consists of a platform with a bathtub on it which contains plywood panels, screws, a coat rack, brown stain for wood etc. A sign says: "This tub contains — actual size — the basic materials for a standard built-in wardrobe.
If it had been built the following kidnapped persons out of absolutely contemporary history [sic] could have been locked up inside until their execution. The police search the home of the gallery owner, Hansmartin Henschke, as well as the home of a member of the artist group Minus Delta t where Thomann has stayed during his visit to Germany, but the searches are fruitless. January The relationship with Doris Lasser is in a state of crisis; a false pregnancy follows and finally they split up. The cover shows a collage that depicts Allen Ginsburg's head exploding.
August Thomann leaves London to temporarily settle down in Vienna, but keeps up his contacts with the London punk and art scenes. The cover art shows one of Thomann's collages with Moby Dick's head exploding. In Vienna Thomann gets in touch with local artists. Both seem spontaneously enthused and only a few weeks later they found The Violents later renamed Tote Donau and Ernste Jugend , probably the first Viennese punk band ever. Thomann is absent. The film runs for five weeks. What might be understood as an ironical side-swipe at so-called 'documentary theatre' soon dissolves into an unsavoury, long-winded and confusing choreography.
A chorus of Brechtian elements what an outrageous platitude! Equally obscure is the jury's decision: Stifter is accused of having made a strong literary effort for the realisation of the dignity of human reason, the human capacity for self-fulfilment as well as the educational impact of art. Hence he deserves to be hanged during the course of a Bacchanal feast which is again staged to the accompaniment of English hard rock. Bauer in Die Presse , 12th November January Thomann travels to San Diego. She passed away in January , exactly one year before the performance.
I had my face painted yellow to commemorate the victims of the Maoist revolution. Primarily, this was meant to remind myself of their fate. I believe that death in our society can never be taboo enough, so I wanted to develop and represent the most cramped relation with death. Hence the death of my grandmother, whom I actually saw for the last time at the age of ten because since she had been living in a home and my parents had never tried to get in touch with her for family reasons. The key point was to be all tensed up just remembering all those people I actually had nothing to do with during my entire life.
And I also hoped to ridicule myself with this action. Unfortunately the audience got it all wrong and they all remained very quiet, instead of cheering me on as I had hoped. The performance was a failure in practical terms, although I had made an effort to provide free beer and had an ice-cream vendor walking around. The latter was the free jazz trombonist Emerson Albukirky, whom I had often worked with before. March Back in Vienna Thomann appears as a dancer with Drahdiwaberl and begins to engage with the emerging Viennese punk and new-wave scene. In June he begins to co-edit the Vienna punk and art magazine Der Ismus.
Notably I Hate Rock'n'Roll by The Nachgeburt represents one of the first pieces to use computer language software note: in contrast to the Vocoder experiments of Kraftwerk. That is the question here. The yet undelivered part of the record's edition has to be destroyed. Thomann shoots a film following the Bible page for page in minuscule detail, "at reading pace", which is projected simultaneously on several walls of the Brucknerhaus in Linz as well as via satellite on rented advertising hoardings in Bombay, Kabul, and Kyoto made possible by a new video projection technology developed by Jerry Crestnik.
Weibel is impressed by Thomann's "virtual sculpture, which turns Andy Warhol upside down" Weibel in Dossier. At the Vienna By Night festival in the U4 club the radically experimental music of Wasser results in tumults among the audience. Thomann accuses the audience of being "bourgeois fuckers". There is a backstage fight with Tom Petting whom he calls a "fucking Nazi arsehole".
Renaming of the band to Der Arische Brauer. The songwriter Arik Brauer does not sue them, but he does express his pity for Thomann in an interview with the Kurier newspaper. Becoming Beast — The False, Part 1 is shown for the first time in the German-speaking world chiefly in small art cinemas. Naturally I was expecting a short, satanic film shocker instead of a cool experimental film, and so was rather surprised.
From today's perspective I would say that the piece is a homage to Kenneth Anger, Jean-Luc Godard, Andy Warhol and Valie Export or, even better, an attempt to revive the genre of underground film. It is widely known that Thomann burnt the film in 'At that time I had personal reasons for coming back to film as a medium. However I soon noticed that the whole film thing is pretty used up. It wasn't enough to let it go in front of the camera anymore. Birgit Hein wrote in a contemporary review FAZ : 'Here the representation of reality is largely abandoned. Apart from the well-known technique of multiple exposures, Thomann elaborates on over- and underexposure, blurring and shots dissolved by light conditions, which he uses as new and purely cinematic means of expression.
However Hein solely describes the structural facets of the film. What I also remember is that in thirteen one-minute chapters the way of the Cross! At the same time the film material itself is exposed to the very same torture: it is mutilated and scratched. From the outset we hear text fragments taken from The Revelation Of St. Surprised tourists emerge in the frame several times. This strategy means that the relationship between artistic calculus and pure chance becomes evident.
Thomann himself has frequently maintained that his film inspired Gilles Deleuze to write the sixth chapter of his book The Time-Image : "Deleuze saw the film in Paris in and was quite enthusiastic about it. There is no doubt that my film has greatly inspired him. However, in the sixth chapter of the book in question it only mentions the big shots like Orson Welles, Fritz Lang, and Friedrich Nietzsche.
This is simply because Deleuze had no specialised knowledge of experimental films whatsoever.
In Alfred Barvinek had already demanded an intensification of the discussion on this matter, especially with regard to the aesthetics of plagiarism in the discursive practices of documentary and experimental film: "With respect to Thomann's oeuvre, one should investigate how the strategies of plagiarism possibly intend a reunion of art and the real-life world, just as the traditional avant-garde had in mind earlier.
This sheds a different light on Thomann's action during May in Club 2. In December Thomann travels to London. Thomann absolutely hates the music and the quasi-critical attitude and tells Morak that he might as well ask Helnwein. For this show Thomann buys paintings from obscure contemporary abstract painters, reworks them and displays them with new titles. Two of the artists sue him. Ludwald Celan, the son of the poet, files sues Thomann for damages.
Around this supposed mist of indifference is occupied by the vital theatrical will of a post avant-garde generation, so to speak. The new generation reveals the fragmented ego's potential for constructive energy, unravels its internal inconsistencies as worth unfolding and, thereby, destroys the intellectual comfort of an entire era — namely the late 60s, the historicity of which is now rendered fully transparent. The lyrics are comprised of fictitious reminiscences by several Austrian songwriters Ludwig Hirsch, Georg Danzer, Wolfgang Ambros, Konrad Beikirchner uttered just before their execution by the Austrian revolutionary people's tribunal.
Wolfgang Ambros has the song banned by a court injunction. They display different abstract paintings similarly entitled Forward To The 80s With The Nostalgia Of Barbecue Machines , and intentionally accuse each other of plagiarism. In the following broadcast four counter-charges are read out using exactly the same wording. Thomann is not invited to the Ars Electronica The performance Kunst. Thomann gives a television interview on the function and the role of art within bourgeois society while at the same time being anally penetrated by a seventeen year-old male prostitute.
A scandal in the media when it turns out that the latter is the heroin-dependent son of the Lower Austrian chief prosecutor Adolph Hofner. In the course of the interview Thomann also starts the rumour that a Canadian artist has apparently constructed a machine that can decapitate somebody and mount a typewriter on their neck where their head had been — a procedure which the artist himself is finally said to have undergone. This rumour is still in circulation.
Only a week later Hofner's secret is revealed: "The action was faked from the beginning to the end. It was just a bizarre and unreal choreography — and the media acted like sheep: I had then eating out of my hand. July The action Kunst Durch Anzeigen Art By Denunciation : anonymously Thomann reports several of his neighbours in the fourth District of Vienna to the police for planting marijuana and possession of child pornography among other things.
As a result the police search several apartments and Thomann films the procedure from the window of his home. On 17th July Thomann suffers a collapse. He spends the remainder of the summer in the Kaiser Josef hospital in Vienna "All that was left of me was mere flesh". It is eventually released under the Zensor label in Thomann also participates. This is the result of "scepticism towards the very possibility of group-building, of the historical event, of the 'generation', of the 'future of painting' etc.
The following paintings are exhibited:. Who Shot Immanence? It shows the story of a Lower Austrian police officer played by Werner Holm, an actor at the Vienna Burgtheater who receives a new office computer. The latter turns out to be the bewitched media artist Peter Weibel voice: Peter Weibel , who manages to persuade the policeman to kill his entire family. Fierce protests by the Catholic Church. January Stays in London. Dilettantes playing pub-rock with Cantonese lyrics. The Slits meet Dr.
Feelgood right in the face" New Musical Express. As cover art one of Thomann's collages is used showing the explosion of Benny Hill's head. The total standstill. This attitude was subsequently adopted by all the German new wave bands. We just wanted to do something that nobody actually needed, that didn't represent anything and that certainly didn't inspire anybody to adopt a particular hair style or, even worse, a particular attitude.
One hundred percent individuality, not just speaking for anybody else but as a strategic refusal of all the things happening at that time. All the differentiation between sub-sub-cultures, you know. Put briefly: the exact opposite of, say, Velvet Underground. That's why pub-rock and that's the reason for the Cantonese lyrics. And it was naturally connected to the 'new superfluity' that I had proclaimed together with Martin Kippenberger, the so-called 'Sism'.
At that time we had already written the 'Sistic Manifesto' in Bielefeld. End of January Open letter to the director's office of the Ars Electronica:. Being present there again may shed a bad light on my status as an 'unsteady wanderer through the virtual worlds of post- modern art spaces' Albert Neuruppin. People might think I had finally arrived somewhere. And I wouldn't like that. Thank you for your understanding and good luck again with this year's boozy discourse and the good old representations of representations of representations!
Yours, Georgie". February Diminutive Manifesto with Ainget R. Varencz and Thomas Benesch published in Mondo Canibale , which is still committed to the ideas of Sism Central, claims: "Reality must be played down by any and all means possible! We've Brought Something for You: Pot! At a peace movement demonstration in the centre of Vienna, Thomann and Christoph Blonk dress up as members of the Christian initiative Pax Mondo and set up a booth offering free tea.
They also distribute biscuits prepared with THC. Two demonstrators have to be taken to a psychiatric clinic. An investigation by the Viennese police ensues but does not produce any results. March With Ainget R. Varencz and Thomas Benesch, Thomann coins the phrase 'Drop Art', an art movement with actions drawing on the discursive technique of so-called 'name dropping'.
Three negroes dance around her — they are the artists Georg P. Thomann, Ainget R. Varencz, and Thomas Benesch. They utter war cries such as 'Roda Roda! Quo vadis, Fluxus? He is thwarted by presenter Franz Kreuzer. July During recording sessions for an LP with Peter Weibel and the Hotel Morphila Orchestra released in Thomann quits the band accusing Weibel of planning a cover with a photograph of his own record collection, which Thomann rates as "fucking petty bourgeois, like comparing dicks for size. August Performance Reinhardt Hablitschek.
During the Salzburg Festival he burns the entire edition of the book on the city square cheered on by previously instructed punks and art students; the Festival is massively disturbed by the resulting turmoil. The Minister of Bavaria Franz Josef Strauss, present among the audience, later speaks to Austrian television and calls it "an unparalleled act of imbecility". Thomann loops this sentence and uses it as the basis of a single that, supposedly a parody, becomes a fun hit on local Bavarian radio.
The provincial government of Burgenland sues Thomann. September Severe car accident in St. Christophen, Lower Austria on the way to St. Thomann looses the small finger on his left hand, suffers from a perforated lung, abdominal contusions and severe bone fractures. Thomann is hospitalised for a month. Afterwards he recuperates in his apartment in the seventh district of Vienna. February Thomann starts work again. An oil painting that he calls Beliebiges Werk Einsetzen Insert Any Piece is inspired by the radical experience of the car accident.
March Thomann paints Pornomesslatte Porno Yardstick. On 25th April the German news magazine Stern presents the Hitler diaries — a forgery. After the plagiarism is exposed Thomann expresses his sympathy with the forger Konrad Kujau. Thomann tells the Kurier quoting from the First Futurist Manifesto that the Hitler diaries are more significant than "a speeding race car emitting sparks May Thomann sends out applications to Margaret Thatcher and several English newspapers The Sun , The Daily Mirror applying for the position of an official battle painter for the Falkland's campaign: "I desire so terribly to accompany your army to paint some piles of dead Argentinian soldiers and maybe mingle some of their blood in my peinture.
I'm looking forward to add it to a sculpture to herald your greatness as a Warlord. To me you are a mythological archetype. June Thomann writes Maschinist Thomann. Thomann enters the facilities with a bag full of flour; a scuffle with passers-by ensues. The retired Karl Wallek injures Thomann's right eye with his walking stick. The Salzburger Nachrichten calls him a "naive professional youngster". Thomann suffers from lung trouble throughout the month of August The wound see car accident in seems not to have healed properly.
Several spells in hospital. The Sao Paolo Biennale kindly invites Thomann to participate. He has to decline the invitation due to poor health. Thomann eventually decides to take a one-month cure at the spa in Bad Hall, Upper Austria. In November Thomann writes the science fiction short story Der Bod. January Thomann's short story Der Bod is published for the first time by the German literary magazine Krull. Starting in February he works on a series of paintings entitled Helmut Und Isaac :. Thomann declares his solidarity with the wanted man.
In August he completes a new series of Helmut Und Isaac paintings:. Thomann starts working on the comic Gulaggy. Live music is performed by the group X-Beliebig "Musically speaking, between Joy Division and The Cure but with more driving auto-dynamics. Thomann sings a version of Michelle in a duet with their lead singer Rene Adametz.
Thomann stays on the meadow along with several hundred other demonstrators helping to stop the clearing of woodland. On the occasion of the tenth anniversary of the Hainburg events, in Thomann describes them as follows: "Fucking cold, fucking dirty, but politically haunting". Thomann meets Dagmar Gilbert, a sociology student, in Hainburg. From spring he starts being active on behalf of the alternative Green political party. Dagmar Gilbert moves into Thomann's apartment. Problems with Gilbert's parents.
End of May Thomann finishes his political comic Gulaggy , a furious satire paraphrasing The Peanuts and Stalinism. Andropov the dog and Tchernenko the senile bird become popular figures in German fanzine circles. Thomann is offered the commission to design a 'technology pavilion' for the Expo in Vancouver. He accepts. A crucial issue under discussion is the situation of Austrian artists in relation to health insurance and social security for artists as well as the debate on an 'extended notion of art'. The portrait is broadcast in Germany on ZDF. Summer during the catastrophic famine in Ethiopia Thomann works intensely with millet-seeds as a material for making artworks.
Ethiopia, You Pig! I couldn't believe I was allowed to do that! Thomann produces posters with Sinowatz "The funny and smart face of the social democratic movement, a path into the future" and sticks them up on the Social Democratic Party headquarters on 19th December Sober, black and white photographs of the landscape, of people, of monuments. The trip to Italy gave me new strength; I was able to recompose myself. Although the Italian press accused me of doing the exact opposite. They were looking for irony and cynicism which, in fact, they cannot be blamed for doing.
And they did find what they were looking for — I just wonder how. All the paintings are hung with the painted side facing the wall. I even had twelve showing Uli Hoeness. May Stays in Berlin with Dagmar Gilbert. This furious parody, combining the commercialisation of the Berlin underground with the American SDI project, becomes a chart hit. Emerging commercial radio stations of the 'young generation' play the song continuously.
Then, at the time of Band Aid, the action not only enrages the tabloids, but is even judged by the TAZ as "counterproductive and hardly original total nonsense from a crazy egomaniac. Strangely enough, this judgement turned pejorative just at the time of the youth revolts that actually aimed at a culture of never ending puberty. It seems that on the one hand they meant the provisory, playing with sexual and pedagogic taboos, a lack of balance between means and end, and last but not least, the not-knowing-why.
Just to not miss a chance.
Whatever you may concede about people, puberty may be the most embarrassing, and sometimes rather painful, but rarely the worst time of their life. Ingo Heller, Verlag Deuticke. In the summer of the Ruhr District experiences its first large-scale smog alarm.
During September Thomann plays tennis several times publicly in the Vienna Freudenau wearing a white rubber mask. In the course of the third happening on 24th September Thomann has a good twenty-five followers, mainly Monty Python fans. The culture editors at the ORF report on this "anarchic art comedy". Molybdenum premieres on 12th October at the Steirischer Herbst festival.
The one-man play is not staged live but projected as a video. Blixa Bargeld plays Franz Deutecke. Gary Danner of Station Rose contributes the synthesiser soundtrack. Thomann's pieces manifest a strongly realistic tendency. Primarily works from the years of to are shown:.
Do You Know Trier? Thomann writes several love letters to the New York-based artist Julian Schnabel and regularly calls him on the telephone Schnabel is informed about the project in advance. As part of the action the latter demands protection from the New York Police. The police report is published. The only important thing is systemic autonomy, i. This means at the same that the art system also has its service sectors, in keeping with other functional systems.
As stated before, this fact not only pertains to connections with the economic system but, in many ways, to developments of the entire society which can be subsumed under the keywords of de-realisation, semiotisation and the mediatisation of the world. Thomann works with installations and integrates new media into his work. With impressive and equally provocative images moving in slow motion, his three-channel installation El Fi[e]st-ing deals with homosexuality in animals.
His work is well received internationally and yields a review in the emerging cyber-art zine Mondo as well as a detailed discussion of his oeuvre in the Whole Earth Review. The planned film Schlagstock Riot Stick is not realised. Thomann is supposed to have acted the roles of a policeman, a lavatory attendant, God and a pregnant waitress. Nevertheless did the Slovenes not exercise the new constitution and behaved in an autonomous way.
This resulted in unrests and King Aleksandar ordered the dissolution of parliament and declared a royal dictatorship. During this time the name was changed into Kingdom Yugoslavia and all nationalist movements were prohibited. In King Aleksandar was assassinated in Marseille by Croatian separatists. He was succeeded by his uncle Pavle. Under his reign the country was liberalized again, new elections were held and more federalist ideas were introduced.
In the time between the wars Slovenia proceeded to become an industrial nation. Yugoslavia declared its support to the Nazi-regime in and signed a treaty with Hitler. Feeling provoked Hitler attacked Yugoslavia not even two weeks later and occupied the country in eleven days. Slovenia was divided into three parts and was annexed by Italy, Germany and Hungary. The occupiers pursued a policy of wiping out any Slovene culture and departed the majority of the Slovenian elite. Consequently Slovenian resistance in the form of the left wing, communistic Liberation Front arose.
The Liberation Front was recognized by the Allies and received their support in the fight against the occupation. After the end of the Second World War the Liberation Front pursued the goal of joining a federative, communistic Yugoslavia. Being, due to their Habsburg-history, the economical most developed country before the Second World War Slovenia achieved to maintain its leading position also after the war. In Slovenian politicians decided to modernize the whole industrial sector in two years, outperforming the other Yugoslavian republics where the process lasted for several years.
Also the agriculture sector was reformed in as the production became inefficient. The collectivization was partly withdrawn and farmers were allowed to extend their private farmland again. Nevertheless these reforms had not the desired long term effect. However this reform also increased already existing problems in Yugoslavia. Most of the growth was financed by an increasing foreign debt which also triggered a rising inflation. Furthermore the differences between the northern states Slovenia and Croatia and southern states as Serbia and Kosovo increased and the northern states had to pay for the modernization of the southern states.