Birgit Mersmann

The exhibition Critical Zones – Horizonte einer neuen Erdpolitik (2020–2022) at the ZKM Karlsruhe is a renewed attempt to unite artistic, philosophical, and scientific knowledge production in the medium of the ›Gedankenausstellung‹ (thought exhibition). The thematic orientation of the exhibition draws upon the writings of Bruno Latour, one of the curators. The article analyzes how his research on the critical zone, the terrestrial, and the Gaia hypothesis has been transformed into an exhibition format, intending a transmedial spatialization of thoughts combined with the visitor’s experience ›how to land on earth‹. Based on a detailed exhibition analysis, it examines the curation and mediation of Latour’s earth-political thoughts and concepts in both the physical exhibition and the digital exhibition platform that evolved in response to the Covid-19 pandemic.

The auto-drama Bildbeschreibung (1984), written by Heiner Müller in the form of a poetic prose, can be read as a response to the emergence of a post-dramatic theater of images and media. In the work of the playwright Müller, it plays a key role as a performance-related Sehtext (viewing text). Under the agenda of image aesthetics, the article explores how the theater text Bildbeschreibung adopts the classical tradition of ekphrasis in order to transform it by transcription. It discusses the literary form and activity of image description as a process of intermedial translation through which the described picture – a drawing of a stage setting – is continuously covered with writing and this way “overpainted” in layers. In a close reading of the written (not staged) dramatic text the multilayered entanglements between description, viewing and observation are exposed. A special focus is drawn on the poetic method of over- painting(Übermalung) as an iconoclastic collision between images – literary images, theater images, film images, and artistic images. The article conclusively argues that Heiner Müller’s overpaintings (Übermalungen) can be qualified as an image-critical strategy of performative iconoclasm by means of which the surrogate function and staging character of images can be crossed and suspended, but also the productive power of imaginatio as a free and uncontrolled stream of images can be activated.

Abstracts
Schmücker, Reinhold, Theisohn, Philipp: Noch einmal: zur Einführung.
Wiesner, Maria: Gewalt, Mord und Antihelden – Moral im Kino. Ein kritischer Essay
Kaum eine Kunstform ist so immersiv wie der Film. Beschäftigt er s [...]