Autor*innenwettbewerb Part I

The readings will take place in Zwinger 3. They will also be available to watch via livestream and on video following the events.

»The First One Hundred Days« by Lars Werner
A remote Shell petrol station on the Czech border to Germany. Silvio is the first one to arrive. He had called for the meeting with Roya, Lou and Marin, but he couldn’t be sure if they turned up. Two years ago, the four of them were best friends. That was before you had to meet in transit zones. Before Roya, Lou and Marin went into exile and before a right-wing extremist government took power in Germany. Before Roya was threatened for her journalistic work, before funding for Lou’s Gender Studies programme was cancelled and Marin was put on a list for purported political suspects. Silvio wants to ask for their help and make them an offer in return. But their reunion brings out old conflicts and shows the deep political rifts between the friends. When a border patrol officer shows up, it becomes clear that Silvio has drifted away from his friends further than he admits.

»burning house« by Anaïs Clerc
Where she comes from, it’s always the tallest who is right, and if he’s no longer there, it’s the next tallest. That’s what the youngest has to tell because where she comes from, she is the only woman: She has to tell of the shame and the fear and a picture of a burning house that she drew as a child and called her home. Of men in her family who don’t talk, let alone cry. Of her escape to the big city and the feeling of never being able to get rid of the smell of the country – not in the slightest. And now the tallest is dead.
Written by Anaïs Clerc, “burning house” is an impressive multigenerational play about three people, alive and dead, fictional and real, who suddenly talk to each other.

»2x241 titles twice as good as Martin Kippenberger« by Frankfurter Hauptschule
In 1986, the painter and sculptor Martin Kippenberger published a scarcely known book entitled »241 Bildtitel zum Ausleihen für Künstler« (241 titles for paintings to borrow for artists). Based on this idea, the collective Frankfurter Hauptschule has created their own collection of titles for non-existent works of art and arranged them with a text. High culture and pop culture references are blurred, overlap, overwhelm and turn into confusions in dialogue form, sarcastic evocations of the Nazi-era or just pure slapstick. The dramatic title reveals its relevance when we look at it as a type of text currently often found in memes, tweets and captions and published on platforms like Instagram, Bluesky and X. With »2x241 titles twice as good as Martin Kippenberger« Frankfurter Hauptschule has cooked up a sinisterly glittering potpourri of the cultural industry.


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