Jean-Baptiste Joly Vorbemerkungen zu »Dealing with Fear« Hans Ulrich Gumbrecht Since When and Why Are We Afraid of the Future? Bertrand Bacqué, Ingrid Wildi Merino Beetween Fear as a Spectacle and Interiorized Fear Vadim Bolshakov Genetic Roots of Instinctive and Learned Fear David N. Bresch Von irrationalen Ängsten zu versicherbaren Risiken Paula Diehl Dealing with Fear The Mise en Scène of the SS in National Socialist Propaganda Björn Franke Violent Machines for Troubled Times Teresa Hubbard, Beate Söntgen Home and Fear An Email-Conversation after the Symposium’s Talk Iassen Markov, Stephan Trüby Temple of Janus 2.0 The 5 Codes_Space of Conflict Jürgen Mayer H., Henry Urbach Mind the Gap A Transcript of the Symposium’s Talk Matthias Aron Megyeri Sweet Dreams Security® Est. 2003 Notes from an Orwellian City Jasmeen Patheja, Hemangini Gupta Fear as Experienced by Women in Their Cities Ortwin Renn, Andreas Klinke Von Prometheus zur Nanotechnologie Der gesellschaftliche Umgang mit Risiken und Bedrohungen Gabi Schillig The Politics of Lines. On Architecture/War/Boundaries and the Production of Space Gerald Siegmund, Maren Rieger Die Another Day: Dealing with Fear Jens Martin Skibsted, Adam Thorpe Liberty versus Security: Bikes versus Bombs Helene Sommer High over the Borders Stories of Hummingbirds, Crying Wolves, and the Bird’s Eye View Yi Shin Tang Dealing with the Fear of Abuse of Intellectual Property Rights in a Globalized Economy Margarete Vöhringer Keine Angst im Labor Nikolaj Ladovskijs psychotechnische Architektur im postrevolutionären Moskau Susanne M. Winterling Dealing with Fear: an Inside and an Outside Perspective Photo Gallery |
Susanne M. Winterling Dealing with Fear: an Inside and an Outside Perspective
A young girl, in bathing suit, cap and swimming goggles stands and bends to dive on a diving board over video of the calm, rippling, unbroken surface of the water in a swimming pool which is projected, life-size, onto the floor of a darkened room. The girl walks on the jumping board overlooking the projected lane and does not jump in but turns around after a few minutes and walks down to repeat the same action as in a video loop. In casting a young pubescent performer, herself hovering on the brink of womanhood and the wet world of sexuality, Susanne M. Winterling works with reality, with the present, true, form of the human body. The girl need only be. She need present no message beyond that inherent in her own form and her actions. This is mature, effective live art. She concentrates, we see her really trying. It is frighteningly tender. As she gets tired, or perhaps more comfortable, her body naturally moves a little more, she involuntarily shudders slightly or falters in her step. In her innocence, and ingenuous and courageous behavior, this child reflects the timorous, expectant being inside many an adult woman.
During the time of the anti globalization riots, about 25 activists were casted to walk around in the museum (as if they could gather immediately for a demonstration with a potentiality of aggression).
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