Montage as a form of aesthetic resistance today: Marcel Odenbach and Thomas Hirschhorn / Verena Krieger. 13. How art resists / Deborah Ascher Barnstone and Elizabeth Otto -- 2. Cut with the kitchen knife : visualizing politics in Berlin Dada / Patrizia McBride -- 3. Walter Gropius's Dammerstock and the possibilities of an architectural resistance / Kevin Berry -- 4. Authority and ambiguity: three sculptors in National Socialist Germany / Nina Lübbren -- 5. Teach your children well: Hermynia zur Mühle, George Grosz, and the art of radical pedagogy in Germany between the world wars / Barbara McCloskey -- 6. Parting shots: Ella Bergmann-Michel's Wahlkampf 1932 (Letzte Wahl) / Jennifer Kapczynski -- 7. "War feeds its people better": Mother Courage and the limits of revolutionary theater / Noah Soltau -- 8. Montage as meme: learning from the radical Avant-Gardes / Sabine Kriebel -- 9. On the possibility of resistance in Two Silverpoints by Otto Dix / James van Dyke -- 10. A whisper rather than a shout: Ursula Wilms and Heinz Hallmann's Topography of Terror / Kathleen James-Chakraborty -- 11. From anti-Nazi postcards to anti-Trump social media: laughter as resistance, opposition, or cold comfort? / Peter Chametzky -- 12. Opera as resistance: the Little March Girl and the Terrorist in Helmut Lachenmann's Mädchen mit den Schwefelhölzern / Joy Calico -- 13. Montage as a form of aesthetic resistance today: Marcel Odenbach and Thomas Hirschhorn / Verena Krieger.
Summary:
In light of the recent rise of right-wing populism in numerous political contexts and in the face of resurgent nationalism, racism, misogyny, homophobia, and demagoguery, this book investigates how historical and contemporary cultural producers have sought to resist, confront, confound, mock, or call out situations of political oppression in Germany, a country which has seen a dramatic range of political extremes during the past century. 0While the current turn to nationalist populism is global, it is perhaps most disturbing in Germany, given its history with its stormy first democracy in the interwar Weimar Republic; its infamous National Socialist (Nazi) period of the 1930s and 1940s; and its split Cold-War existence, with Marxist-Leninist Totalitarianism in the German Democratic Republic and the Federal Republic of Germany's barely-hidden ties to the Nazi past. 0Equally important, Germans have long considered art and culture critical to constructions of national identity, which meant that they were frequently implicated in political action. This book therefore examines a range of work by artists from the early twentieth century to the present, work created in an array of contexts and media that demonstrates a wide range of possible resistance.
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