Bambule: Einführung: Clemens von Wedemeyer(dOCUMENTA (13): 100 Notes - 100 Thoughts, 100 Notizen - 100 Gedanken # 092)

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Bambule: - Ebook - PDF (978-3-7757-5010-3) can be back-ordered as of now.


Afterword: Bettina Röhl German, English 2012, 48 Pages, 19 Ills. Broschur 248mm x 172mm
ISBN: 978-3-7757-2941-3
Preface: Clemens von Wedemeyer German 2023, 48 Pages, 19 Ills. Ebook - pdf (2,9 mb)
ISBN: 978-3-7757-5010-3
Preface: Clemens von Wedemeyer German, English 2012, 48 Pages, 19 Ills. Ebook - epub (7,9 mb)
ISBN: 978-3-7757-3121-8

While researching his essay for the dOCUMENTA (13), the artist Clemens von Wedemeyer (*1974) ran across a screenplay by director Eberhard Itzenplatz, complete with handwritten notes and drawings, at the Berlin Akademie der Künste; it was the basis for the screenplay by Ulrike Meinhof, Bambule. Fürsorge – Sorge für wen? (Bambule: Care – Care for Whom?) The television broadcast, planned for 1970, was canceled, because the journalist and later co-founder of the RAF had disappeared into the terrorist underground ten days before. In Wedemeyer’s eyes, the screenplay is film material that reflects the work environment, the production process, and (self) limitations, and in this specific case, the fact that it is a kind of time capsule. When the film was broadcast twenty-four years later, the social landscape had already been fundamentally transformed. The screenplay closes the gap in time and is a testimony to the discussions held among the participants. In an afterword, the publicist Bettina Röhl (*1962), daughter of Ulrike Meinhof, sheds some light on the motivation for the orphanage campaign as a political program.

While researching his essay for the dOCUMENTA (13), the artist Clemens von Wedemeyer (*1974) ran across a screenplay by director Eberhard Itzenplatz, complete with handwritten notes and drawings, at the Berlin Akademie der Künste; it was the basis for the screenplay by Ulrike Meinhof, Bambule. Fürsorge – Sorge für wen? (Bambule: Care – Care for Whom?) The television broadcast, planned for 1970, was canceled, because the journalist and later co-founder of the RAF had disappeared into the terrorist underground ten days before. In Wedemeyer’s eyes, the screenplay is film material that reflects the work environment, the production process, and (self) limitations, and in this specific case, the fact that it is a kind of time capsule. When the film was broadcast twenty-four years later, the social landscape had already been fundamentally transformed. The screenplay closes the gap in time and is a testimony to the discussions held among the participants. In an afterword, the publicist Bettina Röhl (*1962), daughter of Ulrike Meinhof, sheds some light on the motivation for the orphanage campaign as a political program.

While researching his essay for the dOCUMENTA (13), the artist Clemens von Wedemeyer (*1974) ran across a screenplay by director Eberhard Itzenplatz, complete with handwritten notes and drawings, at the Berlin Akademie der Künste; it was the basis for the screenplay by Ulrike Meinhof, Bambule. Fürsorge – Sorge für wen? (Bambule: Care – Care for Whom?) The television broadcast, planned for 1970, was canceled, because the journalist and later co-founder of the RAF had disappeared into the terrorist underground ten days before. In Wedemeyer’s eyes, the screenplay is film material that reflects the work environment, the production process, and (self) limitations, and in this specific case, the fact that it is a kind of time capsule. When the film was broadcast twenty-four years later, the social landscape had already been fundamentally transformed. The screenplay closes the gap in time and is a testimony to the discussions held among the participants. In an afterword, the publicist Bettina Röhl (*1962), daughter of Ulrike Meinhof, sheds some light on the motivation for the orphanage campaign as a political program.