“Every human body is an old civilization”

Susanne Witzgall

“Every human body is an old civilization”
In conversation with Emine Sevgi Özdamar and Christian Kravagna

PDF, 15 Seiten


Susanne Witzgall: One common point in your texts in that both of you describe migration as an incomplete process, as a practice that is not completed with the arrival at the destination, but perhaps even only finds its starting point, its beginning, there. For instance, you Christian Kravagna, have written in your essay that many migrants develop a practice of travelling back and forth, almost like commuting, a process in which there is no definitive home that one can return to. And the protagonists in The Bridge of the Golden Horn often move back and forth between Turkey and Germany or commute within Istanbul between the European and the Asian sides. Do migrants develop more restless, mobile identities in general? This at least seems to pertain to yourself, Ms Özdamar. You have moved back and forth between Germany and Turkey several times.

Emine Sevgi Özdamar: In the 1970s, when I was working as a directorial assistant at the Volksbühne with Brecht’s student Benno Besson, I played with the idea of returning to Turkey after a year, that is, after I had finished studying – and for this reason I made drawings of the whole rehearsal processes. In Turkey, however, the killing and the military coup was continuing unabatedly. These were the unchanging circumstances. Then Besson asked me to come to Paris with him for a staging, and I went along. I didn’t speak any French, but since I could draw everything that happened on stage, he said: “You don’t need to. First just draw the whole rehearsal process and you can learn French along the way.” This third place helped me greatly, I didn’t have to choose between Germany and Turkey when I was there. It was like having a husband and a lover and thinking that you absolutely must choose between the two. But if you have a second lover, then you don’t have to make any decisions at all. What is there to decide then? That’s how it was for me with French and France. Later I even learned Spanish. At first I learned songs by heart, without understanding them, for instance Sara Montiel’s song Le vi por la calle pasó por mi lado. This is how I learned and it was like being at home. They say: “You no longer have a country, but the journey can also be a country.” And [Jean-Luc] Godard once...

  • Gender
  • Kapitalismus
  • Politik
  • Gegenwartskunst
  • Queerness
  • Migration
  • Digitale Kultur
  • Urbanismus
  • Queer Theory
  • Identität

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Susanne Witzgall

ist seit 2011 wissenschaftliche Leiterin des vom BMBF geförderten cx centrum für interdisziplinäre studien an der Akademie der Bildenden Künste München. Sie studierte Kunstgeschichte, Theaterwissenschaften, Psychologie und Kunstpädagogik an der Ludwig- Maximilians-Universität München und der Universität Stuttgart, wo sie 2001 promovierte. Von 2003 bis 2011 lehrte sie am Lehrstuhl für Kunstgeschichte an der Akademie der Bildenden Künste München und im Sommersemester 2013 an der Newcastle University. Darüber hinaus war sie als freie Kuratorin und von 1995 bis 2002 als Kuratorin am Deutschen Museum Bonn und Deutschen Museum, München, tätig. Sie ist unter anderem Kuratorin bzw. Kokuratorin der Ausstellungen: Art & Brain II (1997/1998), Das zweite Gesicht (2002), Say it isn’t so (2007), (Re)designing nature (2010/2011) sowie Autorin und Herausgeberin zahlreicher Bücher und Aufsätze zur zeitgenössischen Kunst, zum Verhältnis von Kunst und Wissenschaft, dem Wissen der Kunst und zu Themen aktueller interdisziplinärer Diskurse. Hierzu zählen ihre Monographie Kunst nach der Wissenschaft (2003) sowie New Mobility Regimes in Art and Social Sciences (mit Gerlinde Vogl und Sven Kesselring, 2013). Seit Herbst 2018 ist sie Supervisor der Jungen Akademie der Technischen Universität München und seit 2019 Mitglied des International Advisory Board des Willem de Kooning Academy Research Center Rotterdam sowie Beiratsmitglied des Instituts für moderne Kunst Nürnberg.

Weitere Texte von Susanne Witzgall bei DIAPHANES
Kerstin Stakemeier (Hg.), Susanne Witzgall (Hg.): Fragile Identities

What is the current state of the subject and what about the status of its self-image? In contemporary discourses we encounter more and more “fragile identities,” in artistic works as well as in scientific theories, and those are today much less referring to a critique of the concept of identity, but much rather to the relationship those concepts of identity entertain with the overall precarious state of the subject in current social conditions that are characterized by political upheaval and change.
The book Fragile Identities investigates among other things the chances and also the possible endangerments of such a fragile self and asks for the resurging urgency of a contemporary concept of subjectivity. The publication combines international artistic and scholarly contributions, discussions and project documentations in relation to the second annual theme of the cx centre for interdisciplinary studies at the Academy of Fine Arts Munich.