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Opera Village Africa, a participatory art experiment by the late German multimedia artist Christoph Schlingensief, serves as a testing ground for a critical interrogation of Richard Wagner’s notion of the Gesamtkunstwerk. Sarah Hegenbart traces the path from Wagner’s introduction of the Gesamtkunstwerk in Bayreuth to Schlingensief’s attempt to charge the idea of the total artwork with new meaning by transposing it to the West African country Burkina Faso. Schlingensief developed Opera Village in collaboration with the world-renowned architect Francis Kéré. This final project of Schlingensief is inspired by and illuminates the diverse themes that informed his artistic practice, including coming to terms with the German past, anti-Semitism, critical race theory, and questions of postcolonial (self-)criticism. From Bayreuth to Burkina Faso introduces the notion of the postcolonial Gesamtkunstwerk to disrupt the Eurocentric perspective on art history, exploring how the socio-political force of a postcolonial Gesamtkunstwerk could affect processes of transcultural identity construction. It reveals how Schlingensief translocated the Wagnerian concept to Burkina Faso to address German colonial history and engage with it from the perspective of multidirectional memory cultures.

Art --- antisemitism --- racial discrimination --- colonization --- community art --- Gesamtkunstwerk --- political art --- Burkina Faso --- postcolonialism --- architecture [object genre] --- interactive art --- Schlingensief, Christoph --- Germany --- Opera --- Gesamtkunstwerk (Arts) --- Schlingensief, Christoph, --- Wagner, Richard, --- Criticism and interpretations. --- Postcolonial studies --- Laongo Lango (Burkina Faso) --- Operndorf Afrika.

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"This is the first book to focus specifically on the late German artist Christoph Schlingensief's theatre work, which subversively merges art, politics and everyday life to imbue his productions both inside and outside the theatre with a re-energized concept of the political in art. The book proposes the pluralistic concept of the phantasmagoria as a means to decoding Schlingensief's unique theatrical vision and examines how it achieves its political radicality, yet retains a critical ambivalence in regard to an explicitly political intention. Scheer traces Schlingensief's artistic lineage as a filmmaker with no formal training in theatre, whose work does not correspond to theoretical frameworks such as postdramatic theatre, Regietheater, or established categories of political theatre such as Brechtian, community, and agit-prop theatre. She explores how his work instead draws upon the highly performative gestures of the historical and post-Cold War avant-gardes as well the happenings and event-based practices of the sixties. Comprehensive case studies of six diverse theatrical and activist events are offered to demonstrate both the immediacy of Schlingensief's response to contemporary social and political events and his use of a range of artistic influences and different genres: Rocky Dutschke '68 (1996), Save Capitalism: Throw the Money Away! (1999) The Berlin Republic - or the Ring in Africa (1999) Hamlet (2001), Atta Atta - Art Has Broken Out! (2003) and the Church of Fear (2003)"--

Experimental drama --- German drama --- German drama --- Performance art --- Political plays, German --- Politics and literature --- Politics and literature --- Theater and society. --- History and criticism. --- History and criticism --- History and criticism --- History and criticism --- History and criticism. --- History --- History --- Schlingensief, Christoph, --- Schlingensief, Christoph, --- Criticism and interpretation. --- 1900-1999. --- Germany.

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Is art only art insofar as it refuses to be useful? At a moment when the boundaries between public and private have been radically redrawn--politically, economically and culturally--how do we understand art's ability to know the world, to develop our ethics, to express our sense of historical belonging and to be, in different ways to different people, useful? What's the Use? takes as a starting point the premise that art is best understood in dialogue with the social sphere, and examines how the exchange between art, knowledge and use has historically been set up and played out. Propositional and speculative--and deliberately inconclusive--the theorists and artists included in this volume seek an answer to a familiar question: how can art know, and change, the world?

politics --- philosophy of art --- sociology --- community art --- economics --- Art --- kunst --- 7.01 --- Gillick Liam --- Dorner Alexander --- Riegl Alois --- architectuur --- Paglen Trevor --- Schlingensief Christoph --- museologie --- musea --- lichamelijkheid --- Bartana Yael --- Van Oldenborgh Wendelien --- Godard Jean-Luc --- Arte Útil --- kunst en ecologie --- kunsttheorie --- kunst en politiek --- Art and society. --- Philosophy. --- Philosophie

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Art --- Modern [style or period] --- Contemporary [style of art] --- hedendaagse kunst --- moderne kunst --- anno 1900-1999 --- anno 2000-2009 --- kunst --- Gesamtkunstwerk --- twintigste eeuw --- eenentwintigste eeuw --- utopie --- kunst en politiek --- Adrian Marc --- Auderer Klaus --- Bauer Josef --- Beuys Joseph --- Boltanski Christian --- Kabakov Ilya --- Kalman Jean --- Bonvicini Monica --- Broodthaers Marcel --- Buren Daniel --- Burr Tom --- Caramelle Ernst --- Cella Bernhard --- Cityrama II --- Emigholz Heinz --- Export Valie --- Valie Export --- Claire Fontaine --- Friedl Peter --- gelatin --- Genzken Isa --- Gillick Liam --- Graf Franz --- Hirschhorn Thomas --- Hohenwarter Julia --- Hollein Hans --- Inspection medical hermeneutics --- Pepperstein Pavel --- Anufriew Sergej --- Jankowski Christian --- Kaiser Tilman --- Kiaer Ian --- Kiesler Friedrich --- Kippenberger Martin --- Mahony --- Matta-Clark Gordon --- Mayer Ralo --- McCarthy Paul --- Meese Jonathan --- Nitsch Hermann --- Oberhuber Oswald --- Painitz Hermann --- Patane Seb --- Philipp Helga --- Pichler Walter --- Potrc Marjetica --- Rhoades Jason --- Rocha Pitta Thiago --- Rockenschaub Gerwald --- Ruhm Constanze --- Rühm Gerhard --- Schinwald Markus --- Schlick Jörg --- Brus Günter --- Schlingensief Christoph --- Schneider Gregor --- Stocker Esther --- Superflex --- Szeemann Una --- Weibel Peter --- West Franz --- WochenKlausur --- Wotruba Fritz --- Zobernig Heimo --- 7.038/039 --- Exhibitions

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'Living as Form' grew out of a major exhibition at Creative Time in New York City. Like the exhibition, the book is a landmark survey of more than 100 projects selected by a 30-person curatorial advisory team; each project is documented by a selection of colour images.

Art --- anno 1990-1999 --- anno 2000-2009 --- 77.01 --- 77.03 --- Fotografie--Semiotiek van de fotografie. Theorie --- Documentaire fotografie --- Social movements in art --- Radicalism in art --- Social movements --- Art, Modern --- History. --- Themes, motives --- political art --- social movements --- 77.03 Documentaire fotografie --- 77.01 Fotografie--Semiotiek van de fotografie. Theorie --- community art --- art [fine art] --- Jahangir, Farid --- Hobbs, Stephen --- Melitopoulos, Angela --- Allora and Calzadilla --- Kusolwong, Surasi --- Fayyazi, Bita --- Šušteršič, Apolonija --- Simpson, Buster --- von Osten, Marion --- Almárcegui, Lara --- Wikström, Elin --- Bik Van der Pol --- Ruga, Athi-Patra --- Ai Weiwei --- NSK --- Ilich, Fran --- Lace, Bronwyn --- Oldenborgh, van, Wendelien --- Reyes, Pedro --- Moys, Anthea --- Creischer, Alice --- Schaub, Didier --- Chin, Mel --- Kochta-Kalleinen, Oliver --- Shimabuku, Michihiro --- Oda Projesi --- Kenawy, Amal --- Muniz, Vik --- Hassanzadeh, Khosrow --- Reynolds, Laurie Jo --- Chan, Paul --- Hasheminejad, Ata --- Douala-Bell, Marilyn --- Watkins, Peter --- Fallen Fruit --- Condorelli, Céline --- Ukeles, Mierle Laderman --- Aranda, Julieta --- Neustetter, Marcus --- Nassiri, Sassan --- Rosado Seijo, Chemi --- Alÿs, Francis --- Kalleinen, Tellervo --- Bruguera, Tania --- Collins, Phil --- Vidokle, Anton --- Lacy, Suzanne --- Gil, Alonso --- Cirugeda, Santiago --- Schneider, Florian --- Dion, Mark --- Guzman, Frederico --- Deller, Jeremy --- Šedá Katerina --- Schlingensief, Christoph --- Cuevas, Minerva --- O'Neal, John --- Vazquez Martin, Eduardo --- Haeg, Fritz --- Siekmann, Andreas --- Wade, Gavin --- Barclay, Claire --- Morgan Puett, J. --- Movellán, Begoña --- Gates, Theaster --- Glover, Paul --- the land Foundation --- Greene, Josh --- Torolab --- San Francsico Cacophony Society --- Pulska Grupa --- Slanguage --- Ultra-Red --- Frente 3 de Fevereiro --- Cornerstone Theater Company --- Mammalian Diving Reflex --- Temporary Services --- Sarai and Ankur --- Voina Group --- Wochenklausur --- Barefoot Artists --- Superflex [Copenhagen] --- Basurama --- Ala Plástica --- Colectivo Cambalache --- Chto Delat Group --- Platforma 9.81 --- Long March Project --- Alternate Roots --- Bijari --- Pase Usted --- HAHA --- Public Movement --- Bread and Puppet Theater --- Decolonizing Architecture Art Residency [Beit Sahour] --- Women on Waves --- Free Class Frankfurt --- Mujeres Creando --- Finishing School --- Los Angeles Poverty Department --- Osten, von, Marion --- Kunst --- kunst --- gemeenschapskunst --- sociale bewegingen --- politieke kunst --- Oda Projesi [Istanbul] --- SUPERFLEX [Kopenhagen] --- SUPERFLEX [Copenhagen] --- Almarcegui, Lara --- art [discipline] --- Šedá, Katerina