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107
Hardly Homemad(e)
country. Ingeniously Schlingensief positioned asylum seekers as
the contestants in a twisted reality-tv show. A container was set
up next to the Staatsoper with blue FPÖ flags hoisted above it as
well as the logo of the Kronen Zeitung, Austria’s largest news-
paper renowned for its populism, and, lest there was any doubt
about these references, a large sign declaring “Ausländer raus”
[“Foreigners Out”] was mounted on top. Then, just as in the
Dutch television show Big Brother, which began airing in 1999
and was immensely popular in Germany and Austria, twelve
people identified as asylum seekers were brought in to live in
the container and were subject to round-the-clock coverage on
an internet-tv channel set up expressly for the spectacle: www.
auslaenderraus3.at. The public was invited to not just watch but
to call in every day and vote for the two candidates they wanted
to see deported from the country. At 8 o’clock every evening
the two who had received the most votes that day were (un)
ceremoniously removed from the container and shoved into a
waiting vehicle. The prize for the last remaining non-deportee
was 30,000 Austrian schillings, around 2,180 Euro or less than
half the prize money offered in Graz, and marriage to an Aus-
trian citizen through which they would attain the status of a
legal resident.
The show was intended to push all kinds of political but-
tons, and of course it did. Not only was the website unable to
manage the amount of traffic it got and kept crashing, people
turned out in droves to take in the spectacle, and there was a
week-long public debate. The event ran from June 11–17, and
one of the more interesting moments came on Thursday, June
15, when “about 600 protestors attacked the container and tried
to demolish the ‘Ausländer raus!’ sign” (Weiss 2001, 61). It was
initially unclear whether the action was supposed to be part of
the spectacle or not, and when it in fact turned out not to be,
but was rather Viennese protesters looking to show up Schlin-
gensief, he and his team derided them, leveling critique “at the
failure of ‘well-meaning leftie activists’ to mount an effective
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book Siting Futurity - The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna"
Siting Futurity
The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna
- Title
- Siting Futurity
- Subtitle
- The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna
- Author
- Susan Ingram
- Publisher
- punctumbooks
- Location
- New York
- Date
- 2021
- Language
- English
- License
- CC BY-NC-SA 4.0
- ISBN
- 978-1-953035-48-6
- Size
- 12.6 x 20.2 cm
- Pages
- 224
- Keywords
- activism, Austria, contemporary art, contemporary theater, protest culture, radicalism, social protest, Vienna
- Category
- Geographie, Land und Leute
Table of contents
- Preface 11
- Introduction 19
- 1. (Re)Forming Vienna’s Culture of Resistance: The Proletenpassions @ #Arena 39
- 2. Converting Kebab and Currency into Community on Planet #Ottakring 57
- 3. Lazarus’s Necropolitical Afterlife at Vienna’s #Volkstheater 81
- 4. Hardly Homemad(e): #Schlingensief’s Container 101
- 5. From Grand Hotels to Tiny Treasures: Wes Anderson and the Ruin Porn Worlds of Yesterday 119
- 6. Capitalism, Schizophrenia, and #Vanlife: The Alpine Edukation of Hans Weingarter 143
- 7. #Hallstatt: Welcome to Jurassic World 161
- Bibliography 189
- Filmography 215