Symposium I
Symposium II
Exhibition / 52-Hour-Lab
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

Presenting two living sculptures, A Swimmer’s Doubt and The Global Players, I will propose dealing with fear as an integral part of our daily life. Fear and dealing with fear should rather be seen as a potentiality within all of us or, at least, that is what I am interested in.

Susanne M. Winterling, A Swimmer’s Doubt

A Swimmer’s Doubt was first shown 2002 at Via Farini in Milan, later at Würrtembergischer Kunstverein Stuttgart, and at the Futura Gallery in Prague.

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.

The Global Players
or Block, is a living sculpture and was shown the first time at Milano Padiglione d’Arte Contemporanea in 2003 and the second time in Recycling the future in Venice, 2003.

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).

pay attention
you raised us to romance
you raised us to riot