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these demonstrations, which began to be organized against the
bourgeois attendees of the Opernball with titles such as “eat the
rich” and the “Anti-Obern-Ball” — against those above, a play
on ‘ober’ [above] and ‘Oper’ [opera]. By the time of the 2000
event, there were over 10,000 protesters clashing with the police
and being brutalized and arrested. Had Schlingensief’s Container
taken place in the square in front of Vienna’s City Hall or in
front of St. Stephen’s Cathedral in the center of the city, it would
not have been as over-determined to be demonstrated against as
it was on the square in front of the State Opera House.
After the attack by the local resistance demonstrators, Schlin-
gensief insisted on playing out the rest of the farce and having it
made into a documentary as they had planned.14 He was simi-
larly recalcitrant in refusing to address the amount of protest his
pro-populist position generated:
A man shouts at Schlingensief, “You are an enemy to Aus-
tria and you have to be deported!” Someone who hates the
xenophobic messages breaks in at night and tries to set the
containers alight. Another attacks the structures with acid.
A protestor is shown being taken away in a police car after
defending the rights of foreigners. “Where are the dirty pigs
who authorised this?,” he shouts as he is dragged away. An-
other woman first attempts to persuade the gathered crowd
that “those who already stay here shall remain here, and they
shall have equal rights to the Austrians.” But then, […] she
14 Director Paul Poet’s 2002 Ausländer raus! Schlingensiefs Container won
several awards at international film festivals and enjoyed a rerelease six
years after its premiere, on account of another political crisis in Austrian
politics brought on by difficulties between the two coalition partners.
In the snap election held on September 28, 2008, just two years after the
previous election, both the SPÖ and the ÖVP did terribly, with the worst
election results in their history; however, despite the strong gains made by
now two anti-immigrant, anti-EU parties, who together won an unprec-
edented 28% of the vote and more seats than the ÖVP, and despite Jörg
Haider’s death in a car accident less than two weeks after the election, a
traditional SPÖ–ÖVP coalition assumed power, and the threat of once again
having an extreme right party in the Austrian government abated.
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