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Siting Futurity - The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna
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49 (re)forming Vienna’s culture of resistance earned at least some of the occupiers’ admiration for coming out to the slaughterhouse to talk to them “mit Ihrem Chauffeur und ihrem Handtäschchen im Schneiderkostüm” [“in a tailored suit with her purse and chauffeur”] and who is on record as wanting to find a solution that “would give the young people the chance to actualize themselves” (Höllerl and Spanbauer 2012a, 102).15 The protest was the talk of the town, especially around the university area and was only displaced from the headlines by the tragic collapse of the Reichsbrücke on August 1. Fliers, posters and comics circulated about the events at the slaughterhouse, and people took to the streets to show their support. Besides the Schmetterlinge, most of the city’s folk and rock musicians per- formed for the occupiers, leading sing-alongs of protest songs adapted to the local dialect and situation. For example, the Civil Rights Movement’s protest song “We Shall Not Be Moved,” which was originally an African-American spiritual called “I Shall Not Be Moved” and became popular as “No Nos Moveran,” the translation done for the Spanish Civil War, was translated into “[u]nd wann die Polizei kommt, mia gengan nimmer fuat!” [“Even if the police come, we’re not gonna leave!”].16 When Leonard Cohen was in town as part of the European tour, he couldn’t help but hear about the occupation and, after his sched- uled concert at the Stadthalle, went out to the slaughterhouse to perform a Yiddish folk song as a show of solidarity for the oc- cupiers. The occupation came to an end after the Gemeinderat [Viennese city council] finally approved the sale of the property on September 27. By October 6 the occupiers had decided to leave peacefully (Weidinger 2012, 100), and they did so a few days later, but not before staging an “Arena Begräbnis” funeral procession from the slaughterhouse to City Hall, where mov- ing speeches were held and the Internationale sung (Höllerl and Spanbauer 2012b, 109). 15 The original reads: “[E]ine Lösung zu finden, die den „jungen Menschen die Chance geben [wollte], sich selbst zu verwirklichen.“ 16 Arena-Besetzung 1976. Martin Auer und BesetzerInnen singen “Mia gen- gan nimmer fuat!”is available on YouTube at https://www.youtube.com/ watch?v=n7hC8tYzwUc.
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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

  1. Preface 11
  2. Introduction 19
  3. 1. (Re)Forming Vienna’s Culture of Resistance: The Proletenpassions @ #Arena 39
  4. 2. Converting Kebab and Currency into Community on Planet #Ottakring 57
  5. 3. Lazarus’s Necropolitical Afterlife at Vienna’s #Volkstheater 81
  6. 4. Hardly Homemad(e): #Schlingensief’s Container 101
  7. 5. From Grand Hotels to Tiny Treasures: Wes Anderson and the Ruin Porn Worlds of Yesterday 119
  8. 6. Capitalism, Schizophrenia, and #Vanlife: The Alpine Edukation of Hans Weingarter 143
  9. 7. #Hallstatt: Welcome to Jurassic World 161
  10. Bibliography 189
  11. Filmography 215
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