Name: Cosmos Ottinger (Bilingual edition)
Brand: 桑格
SKU: 67500dde37a1f1000fa233fa
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Cosmos Ottinger (Bilingual edition)

English language ｜Papercover ｜ 2022 ｜ 276 pages ｜31x 22cm  

Publisher 　 Hatje Cantz
Author　　 Çagla Ilk (Editor), Misal Adnan Yildiz (Editor), Hannah Black (Contributor), Katharina Müller (Contributor), & 5 more
See all formats and editions
ISBN 　 9783775753289

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Education and Early Work

In 1959, she began studying at the Academy of Fine Arts in Munich, focusing on painting. Between 1962 and 1968, Ottinger worked as an independent artist in Paris, where she studied etching techniques under Johnny Friedlaender and participated in multiple exhibitions.

Film and Artistic Style

Ottinger is known for her rejection or parody of traditional art film conventions. Her works explore new ways to create visual pleasure, offering audiences an experience distinct from mainstream cinema. Her films include Johanna d’Arc of Mongolia (1989), China: The Arts – The People (1986), and Prater (2007).

Multidisciplinary Practice

Ottinger’s practice spans painting, photography, film, and performance art, showcasing her multifaceted artistic vision. Her visual art and films are characterized by unique aesthetics and profound cultural commentary.

Recognition and Influence

Her works have been widely recognized in Germany and other European countries. In 2002, her piece Southeast Passage was featured at the Kassel Documenta. In the 1980s and 1990s, feminist film scholars highly regarded her work, which significantly influenced feminist film theory.

Legacy and Contribution

Ottinger’s innovative artistic approach has left a lasting impact on contemporary art and film. Her work continues to explore cultural and visual themes, blending photography, painting, and cinema to offer new perspectives on critical issues.

As a painter, filmmaker, and photographer, Ulrike Ottinger has created an entire artistic universe, a Cosmos Ottinger. Her transdisciplinary approach is groundbreaking today but Ottinger is also a pioneer of queer art, post-colonial criticism, and the confrontation with fascism and persecution. These questions are all still urgent today: How can we locate contemporary feminist, queer, and aesthetic debates historically? And how does one situate these debates in a museum setting? The catalogue, edited by the Kunsthalle Baden-Baden, documents this part of her work but also addresses these theoretical and art historical questions raised by Ottinger's searching and investigative approach.