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(re)forming Vienna’s culture of resistance
[Who writes history?
Every morning when we go to work,
a new page is written in the history books. Who writes it?
Does history happen to us?
Or do we make our own history?
Our history is the history of struggles,
between the classes, an angry chronology.
Yet we are taught a long list of crowns and thrones, governed
by a blind fate.
When we are not supposed to learn that much —
who benefits from our not knowing? When so much isn’t in
the schoolbooks, who doesn’t want what to be taught?]
(Unger 2015, 13)
With questions like these in the air, the city should not have
been surprised that its plans to demolish the slaughterhouse
met with the resistance it did.
On the afternoon of June 27, 1976, a Sunday and the day of
the final Arena performance that season, the Schmetterlinge
and a cabaret group called Keif performed at an Anti-Schleif-
er (anti-razing) event at the Naschmarkt.11 At the end of their
performance they called for the rescue of the slaughterhouse
as well. Hundreds spontaneously headed to St. Marx, where
Schabernack II, a musical protesting the highway by the group
11 As Friesenbichler relates (2008, 108–9), Schleifer is an ambiguous term in
German, referring to the tearing down of buildings but also to a sadistic
drill sergeant. The protest was multi-pronged and in the first instance
against scandals in the army. First to break had been the case of Kurt
Wandl, an eighteen year old doing military service, who collapsed and
died on August 15, 1974, during a drill involving heavy equipment carried
out on one of the hottest days of the year. Journalists soon discovered
it was not an isolated case, and when in May 1976 another incident was
reported in the Rennbahnexpress, a magazine for young people, of a near-
death (Werner Grusch barely survived punishment for complaining about
the exorbitant prices in the cantine and collapsed after an hour and a half
of carrying gas masks around), a protest was called for that overlapped
with the one against the planned highway. Grusch also appeared on the
protest’s program.
Siting Futurity
The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna
- Titel
- Siting Futurity
- Untertitel
- The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna
- Autor
- Susan Ingram
- Verlag
- punctumbooks
- Ort
- New York
- Datum
- 2021
- Sprache
- englisch
- Lizenz
- CC BY-NC-SA 4.0
- ISBN
- 978-1-953035-48-6
- Abmessungen
- 12.6 x 20.2 cm
- Seiten
- 224
- Schlagwörter
- activism, Austria, contemporary art, contemporary theater, protest culture, radicalism, social protest, Vienna
- Kategorie
- Geographie, Land und Leute
Inhaltsverzeichnis
- 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