Glauben Sie nicht, dass ich eine Amazone bin / Don’t Believe I’m an Amazon (Ulrike Rosenbach, 1975) See excerpt from video here. “Ulrike Rosenbach is a pioneer and an important figure of video and performance art in Germany. After studying at the Düsseldorf Academy of Fine Arts from 1964 to 1970, Ulrike Rosenbach created her first video works in 1971, taught feminist art and media art in California and, after her return to Germany, founded the ‘School for Creative Feminism’ in Cologne. She uses video as not just an instrument of documentation but works with this medium in experimental and artistic ways. She began to use video to create “documents of her inner life” as early as 1972. She herself is the point of departure and the subject of her performances. In her so-called video live actions, she exposes patterns of female identity construction and develops strategies of self-determination. She deconstructs woman’s “image status” in traditional depictions of women in art, the media, commercial ads and film, marking the space of performance with materials which take on ritualistic associations and symbolic meanings.” “In “Glauben Sie nicht, dass ich eine Amazone bin” (1975) the artist shoots arrows from a bow at a picture of the Holy Virgin. The image of the Virgin and that of the artist are superimposed on each other, she thus also shoots at herself. In this work, Rosenbach contrasts two stereotypical images of femininity, that of the Amazon and that of the Holy Virgin, refusing to identify with either.” (Image and words via re.act.feminism)

Glauben Sie nicht, dass ich eine Amazone bin / Don’t Believe I’m an Amazon (Ulrike Rosenbach, 1975)

See excerpt from video here.

“Ulrike Rosenbach is a pioneer and an important figure of video and performance art in Germany. After studying at the Düsseldorf Academy of Fine Arts from 1964 to 1970, Ulrike Rosenbach created her first video works in 1971, taught feminist art and media art in California and, after her return to Germany, founded the ‘School for Creative Feminism’ in Cologne. She uses video as not just an instrument of documentation but works with this medium in experimental and artistic ways. She began to use video to create “documents of her inner life” as early as 1972. She herself is the point of departure and the subject of her performances. In her so-called video live actions, she exposes patterns of female identity construction and develops strategies of self-determination. She deconstructs woman’s “image status” in traditional depictions of women in art, the media, commercial ads and film, marking the space of performance with materials which take on ritualistic associations and symbolic meanings.”

“In “Glauben Sie nicht, dass ich eine Amazone bin” (1975) the artist shoots arrows from a bow at a picture of the Holy Virgin. The image of the Virgin and that of the artist are superimposed on each other, she thus also shoots at herself. In this work, Rosenbach contrasts two stereotypical images of femininity, that of the Amazon and that of the Holy Virgin, refusing to identify with either.”

(Image and words via re.act.feminism)

Glauben Sie nicht, dass ich eine Amazone bin / Don’t Believe I’m an Amazon (Ulrike Rosenbach, 1975) See excerpt from video here. “Ulrike Rosenbach is a pioneer and an important figure of video and performance art in Germany. After studying at the Düsseldorf Academy of Fine Arts from 1964 to 1970, Ulrike Rosenbach created her first video works in 1971, taught feminist art and media art in California and, after her return to Germany, founded the ‘School for Creative Feminism’ in Cologne. She uses video as not just an instrument of documentation but works with this medium in experimental and artistic ways. She began to use video to create “documents of her inner life” as early as 1972. She herself is the point of departure and the subject of her performances. In her so-called video live actions, she exposes patterns of female identity construction and develops strategies of self-determination. She deconstructs woman’s “image status” in traditional depictions of women in art, the media, commercial ads and film, marking the space of performance with materials which take on ritualistic associations and symbolic meanings.” “In “Glauben Sie nicht, dass ich eine Amazone bin” (1975) the artist shoots arrows from a bow at a picture of the Holy Virgin. The image of the Virgin and that of the artist are superimposed on each other, she thus also shoots at herself. In this work, Rosenbach contrasts two stereotypical images of femininity, that of the Amazon and that of the Holy Virgin, refusing to identify with either.” (Image and words via re.act.feminism)

Glauben Sie nicht, dass ich eine Amazone bin / Don’t Believe I’m an Amazon (Ulrike Rosenbach, 1975)

See excerpt from video here.

“Ulrike Rosenbach is a pioneer and an important figure of video and performance art in Germany. After studying at the Düsseldorf Academy of Fine Arts from 1964 to 1970, Ulrike Rosenbach created her first video works in 1971, taught feminist art and media art in California and, after her return to Germany, founded the ‘School for Creative Feminism’ in Cologne. She uses video as not just an instrument of documentation but works with this medium in experimental and artistic ways. She began to use video to create “documents of her inner life” as early as 1972. She herself is the point of departure and the subject of her performances. In her so-called video live actions, she exposes patterns of female identity construction and develops strategies of self-determination. She deconstructs woman’s “image status” in traditional depictions of women in art, the media, commercial ads and film, marking the space of performance with materials which take on ritualistic associations and symbolic meanings.”

“In “Glauben Sie nicht, dass ich eine Amazone bin” (1975) the artist shoots arrows from a bow at a picture of the Holy Virgin. The image of the Virgin and that of the artist are superimposed on each other, she thus also shoots at herself. In this work, Rosenbach contrasts two stereotypical images of femininity, that of the Amazon and that of the Holy Virgin, refusing to identify with either.”

(Image and words via re.act.feminism)

Posted 2 years ago & Filed under 1970s, film stills, glauben sie nicht dass ich eine amazone bin, short films, ulrike rosenbach, performance, feminist filmmaking, 12 notes

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Pervasive themes include nuns, noir, trash, art-wank, viscera, boobs, surrealism, and varying combinations thereof.

Here, we dream longingly of resurrecting the respectively pickled cadavers of Divine and Oliver Reed for a neo-noir Sapphic nun film based loosely on The Story of the Eye, made highbrow through an aspiring Bernard Herrmann soundtrack written by Goblin, and recycling the dolphin fountain pool last used for Showgirls as a chief prop.

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