Unusual Measures Office

from Wikipedia, the free encyclopedia

The Bureau for Unusual Measures ( BfM ) was an artist group founded in 1987 in what was then West Berlin , which was active in the left-wing alternative spectrum of Berlin until the mid-1990s and dealt with political art. The prehistory of the group, whose central heads were mainly Kurt Jotter and Barbara Petersen, go back to the left-wing K groups in Berlin in the 1970s. The office often worked with the means of theater, performance or installation; many of their actions can be assigned to the communication or fun guerrilla . Artistically, an expanded concept of collage formed the central motif of the group's work. The central aim was to bring political content into public space in this way. Since the end of 2013, Kurt Jotter has started to continue this action-art work and to set up a new group.

The actions staged by the office in 1988 as part of the protests against the annual meeting of the IMF and World Bank in West Berlin in 1988 attracted particular attention . In 1988 the office was awarded the Culture Prize of the Kulturpolitische Gesellschaft for its actions .

prehistory

Artist group "Photo, Design, Graphics, Public Relations" (FDGÖ)

Demonstration in the Berlin house fight, banner of the FDGÖ

The group was founded by the graphic artist, publicist and theater scholar Kurt Jotter (* 1950) and the political and art scholar Barbara Petersen (* 1951; † 2014). The two had already met in the mid-1970s in the environment of the then K-groups and later decided to work as a kind of advertising agency for politically left-wing clients. To this end, in 1977 they founded the Kreuzberg-based artist group “Photo, Design, Graphics, Public Relations” (FDGÖ). The name and logo alluded to the Freedom-Democratic Basic Order (FDGO), which was much cited at the time .

The group, consisting of designers, artists and self-taught people, wanted to provide more oomph, humor and creativity in the often serious and humorless left-wing contexts. Their motto was: “Alienate the media, offices and authorities! Assemble your jumping jacks yourself! Let the puppets dance! ”For this purpose, they designed political posters, photomontages, postcards, stickers, designed banners, objects, etc., up to election campaign slogans for,“ with changing cast and subject-specific collaboration with “associating” artists the alternative list .

In an early manifesto at the time of the FDGÖ, Jotter refers to some influences, such as Dadaism in general ("Clown Dada"), but in particular John Heartfield ("Uncle Heartfield") and Bertolt Brecht's didactic pieces, Stories from Mr Keuner . In an interview from 1998 he also distinguished himself from being purely as a graphic and poster artist, as in the case of Klaus Staeck, in favor of a multimedia approach.

With a work commissioned by the Berlin tenants' association, the group first acted in public space in spring 1987. As a protest against the abolition of the rental price control, which was carried out by the CDU / FDP Senate, she carried out the “Berlin will be bright” campaign. After a poster was called for “all Berlin artists”, 100 contributions were received, a selection of which shone on around 200 house walls as slide projections. Many of the projections were analogous to conventional large posters, but for the first time the group used a technique which they later called “Real Montage” and which transferred the methods of photomontage , one of the group's central techniques, into public space: “There had For example, we projected a slide onto a house with scaffolding in front of it, where only shadowy people with banners were on it. It looked like a lot of people were standing on the scaffolding holding banners - a very simple simulation. "

Even the then General Secretary of the Berlin CDU, Klaus-Rüdiger Landowsky , praised the action as “artistically noteworthy and interesting”. In the area of ​​public communication it opens up additional aesthetic spaces and forms, but the political content is “not particularly illuminating”.

Establishment of the office

Front and back of the leaflet on the "Anti-Kreuzberger Schutzwall"

On the occasion of US President Ronald Reagan 's visit to Berlin on June 12, 1987, the police had completely cordoned off Kreuzberg's SO 36 without prior notice. For fear of riots by autonomous groups , subways and other public and private transport were stopped for half a day. The FDGÖ responded to this with the members of its location in the formerly occupied factory "Kerngehäuse" on June 17 with a major campaign on the Kottbusser Bridge between Neukölln and Kreuzberg. A two-meter-high “Anti-Kreuzberg protective wall”, made of wood, cardboard and rolls of fabric, modeled on the Berlin Wall , was set up in the lanes of the bridge. Jotter announced with tailcoat, top hat and a black, red and gold sash as the allegedly new Senator for Interior and Architecture (alluding to the Interior Senator Kewenig, who was responsible for the Reagan lockdown ): “We will not let our beautiful Berlin be let by the Kreuzberg anti- Destroy Berliners. [...] For this reason, after the resounding success of the Kreuzberg blockade for Reagan's visit, the Berlin Senate decided in a secret meeting to build the anti-Kreuzberg protective wall. ”Passers-by were issued with passports when they entered the district and warned that the“ Freiwild Enclosure SO 36 “may only be entered at your own risk.

Around 200 participants carried banners with the demand for “free travel” and “family reunification” and demanded “The wall must go” or “get rid of the shit”. The action caused a sensation, but also had criminal consequences: Since it was not registered as a demonstration, it was viewed as a violation of the Assembly Act , but the proceedings were discontinued in March 1988 against a monetary condition. The “Office for Unusual Measures” emerged in September 1987 from the positive experiences of this campaign as well as the previous “Berlin is getting bright”.

Structures

Conception

The “handover of the purchase price for the GDR” as part of the “The Last Bell” campaign, 1990

The newly founded group differed from the FDGÖ not only in their name, but also in their conception. She turned away from the means of traditional public relations work in favor of political action art , which should take place directly in public space and claim it for itself, also including the new media at the time, such as video theater installations and media sculptures. According to our own definition, the concept was that an action “takes up important social issues in the interaction of different art disciplines and illuminates aspects that would otherwise get lost in the social discussion”. The office thus pursued the central goal of the counter- public, but always with the option of simultaneously penetrating the mass media public through the spectacle.

In its explanations of the protests against the annual meeting of the World Bank and IMF, the office (together with the Frankfurt group) stated:

“For years, the political resistance culture has been chopped up by the police on the part of the state and capital - if they do not adhere to the lordly lap rituals that are enforced from above and the protest's ineffectiveness. Fighting, resisting and protesting people, for this reason and for other reasons, often show too little imagination what they are fighting for. "

In addition to Jotter and Petersen as the core of the group, the other members of the office changed, long-term employees were Christian Josef Krafczyk, Elke Hollmann, Trixi Frings, Romi Morana, Marion Ibrahini, Rainer Sauter, Rolf Lorenz and others. In production, the office felt obliged to adopt an approach that was as egalitarian and participatory as possible and stated that it did not want to “cultivate an elitist concept of art, but rather operate consciously with the creativity that is inherent in all people. It wants to be a starting point for ideas and experiences, to design actions independently and to realize them together with others; as well as supporting others in realizing their ideas ”. With this in mind, the office emerged in a 1989 study on the structure of alternative groups in West Berlin as one of the most cooperative groups in the city. The actions should not be unique in the artistic sense either, but should have model character. They aimed to be perceived as master copies outside the group, to be imitated and redesigned in the hope that an “imaginative militancy” would establish itself in the political culture.

Political position

The BfM was part of the left-wing alternative spectrum of Berlin, loyal to its own field of activity, especially extra-parliamentary structures of political work. Jotter was close to the alternative list, but was at times skeptical about their parliamentary activities. In 1988 he diagnosed: “The complete involvement in parliamentary 'necessities' and the participation in all committees absorbed so much forces that the participation of the AL in the struggle outside Parliaments are becoming more and more impossible. ”He advised her to vote in elections, but not to occupy the seats afterwards.

financing

Title page of the FDGÖ catalog

The FDGÖ lived almost exclusively from orders from the left-wing alternative scene, but also had income from the sale of posters and postcards - these served in particular to cross-finance the work for initiatives that had no budget. Still, it was tight from the start. In a review of 1998, Jotter said that the founding of the FDGÖ worsened the situation “because it is of course more difficult to live with many of them. […] The money was getting less and less. ”The main problem was“ to make clear to the initiatives how much the effort […] of this work actually was ”. In an interview in 1987, they said that they would welcome it if “the cultural world of Udo Lindenberg & Co. would give a little something”.

The office itself financed itself later through donations and nationwide workshops, through projects through the New Society for Fine Arts (NGBK) and through the budget for independent theater groups of the Berlin Senate, which later led to protests at the CDU.

Central actions

Call for the B 750 parade

B 750 parade 1987

Just one month after it was founded, on October 25, 1987, the office made its first public appearance with a major campaign. For the 750th anniversary in Berlin , it organized the “B 750 Parade” on Kurfürstendamm with around 3,000 to 5,000 participants and 30,000 spectators. The parade followed an oversized Berlin bear and when its huge pink genitals were revealed in a rain of confetti from census sheets, the participants in the parade chanted the slogan "Nothing goes over bear smack!"

The cultural scientist Gottfried Korff found the event ambiguous, "a partly funny, partly dogged-looking" counteraction "to the official closing ceremonies", the theater scholar Martin Maria Kohtes, on the other hand, spoke of an "alternative carnival procession with [...] bitingly ironic banners and scenic interludes" , "[M] staged media and audience effective ..."

IMF and World Bank meeting in 1988

Transparent action by the office in the run-up to the IMF / World Bank meeting in 1988

In September 1988, during the protests against the annual meeting of the IMF and the World Bank in West Berlin in 1988, the office played a leading role in the "coordination of theatrical and artistic actions and the production of publicity materials" and organized one with numerous other initiatives during the four days of the meeting whole series of actions and events.

What stood out was a three-day drum and light session on Breitscheidplatz , which took place despite the ban due to the large number of participants. Another action, “Citizens Applaud Bankers”, led to repeated police activities against applauders due to its irritating nature.

Together with the Federal Congress of Development Action Groups , the office documented the actions on this occasion in 1989 in the reader “Anger, Joke, Resistance: The IMF / WB Campaign in Pictures and Words”. In mid-October 1988, the BfM had already been awarded the 2000 Mark cultural prize of the Kulturpolitische Gesellschaft .

Memorial plaque on the former Imperial Court Martial in 1989

The (today's) memorial plaque in front of the former Imperial Court Martial

From June 8, 1989, what was actually an unspectacular action developed into a more extensive legal dispute in which the office appeared as the plaintiff. Together with the Deputy Speaker of Parliament Hilde Schramm and the Charlottenburg District Mayor Monika Wissel , the office at the Court of Justice in Witzlebenstrasse put up a temporary plaque for those sentenced to death by the Reich Court Martial . The judge Egbert Weiß had the board torn down on the same day. After a criminal complaint by the office against Weiss for damage to property, the further investigations ran irregularly, the political prosecutor repeatedly stopped the investigation and had to reopen it on complaints or on the instructions of the Justice Senator Jutta Limbach . Ultimately, however, the investigation was finally stopped in 1990, because White did not know that the panel was someone else's property.

German Meanness Day 1990

On October 3, 1990, the office organized the “Day of German Unity” together with groups from the GDR under the motto “From 0:33 we will celebrate back” to celebrate the Day of German Unity . At the event on Kollwitzplatz , among others, Rio Reiser , Arnulf Rating and The True Heino performed . Almost 10,000 participants were then present at the proclamation of the Autonomous Republic of Utopia : "We are independent of states and citizenships, independent of the politics of parliaments and parties."

Campaign to save the Lenin monument in Friedrichshain in 1991

The former Lenin monument on the former Lenin Square in Friedrichshain

As part of the efforts to save the Lenin monument in Friedrichshain , the office, in cooperation with Bündnis 90 / Grüne / UFV and the New Society for Fine Arts, attached a sash with the slogan “No violence!” To the statue using a lifting platform of the Monday demonstrations . "It seems as if he is asking for protection himself," wrote Dieter E. Zimmer at the time . At the same time, the office published an open letter to the "great hero of the October Revolution of 1989 and [...] conqueror of socialism", Mayor Eberhard Diepgen , recommending him "in the style of the New German Era" in it "the ceremony of a mass event at which Lenin can be spat at, beaten and pelted with stones and German incendiary bottles in public. You could give the starting shot yourself by throwing a real Palatinate Saumagen in Lenin's face from a lifting crane. "- an" ironic gesture with which Diepgen [...] was assumed to be childish and irrational ".

Asylum tunnel Berlin – Timisoara 1993

In February 1993 the office invited to a “state act” during the Berlinale for the inauguration of the “Asyltunnels Berlin-Timisoara”. The location was the historically significant area on Bernauer Strasse as the end point of numerous escape tunnels from the GDR . Officially, in front of an audience, the government, the Senate, the Church and the European Community issued the motto that in accordance with the constitution, not only "the jet-set class", but also "the really persecuted", without violating the security Third country rule to enter the Federal Republic. If, however, abuse by “gypsies, communists or Polish car smugglers” occurs, “the tunnel can also be flooded at any time as part of the canal construction program”.

further activities

The video theater installation Relation Chips , FDGÖ, 1984/1985

In addition to the elaborate, theatrical and artistic actions, the office also took part in the political dialogue using conventional methods. For example, it supported asylum seekers' initiatives, organized art exhibitions and organized district or women's festivals.

Likewise, the office did not forego socially critical work with a stronger focus on artistic aspects in a less event-related form. As early as 1984, the FDGÖ created a video theater work called Relation Chips , a 75-minute media-critical collage on two video channels and several monitors. Here, too, the motif of the collage, which combined videos from both channels, took hold in quick succession of excerpts from talk shows, films, features, commercials, documentaries and series, as well as synchronized sequences of two actors playing with each other across the two central screens along a text by Samuel Beckett acted. Kurt Jotter was the overall artistic director. The program was invited to many German and European theater, video and film festivals, and excerpts were shown in the Long NDR Video Night and in the ZDF Special Aspects program for the Berlinale.

In 1994, together with the Neue Gesellschaft für Bildende Kunst, the installation Flut was created in the Kaufhof on Alexanderplatz . What was visible was a wall of cupboards in the shop window overflowing with water, with carpet, decorations and a television that was still running, in its center a television that showed the image of a rapidly rotating waterwheel. The aim was to irritate passers-by and to point out the overstimulation, "so that they don't sink into the increasingly cruel and accelerating images of the media," says Jotter.

In 1994, together with the Neue Gesellschaft für Bildende Kunst, the office also produced the performance program Laterna Tragika - The Journey Behind the Light , for which Barbara Petersen and Matthis Heinzmann were responsible for the script and direction. A review at the time said: “[...] was intended as a criticism of the media overload of stimuli, but remains exclusively at the level of a video clip. [...] Amusing, entertaining, but also passed just as quickly. "

End and new beginning of the office

From the mid-1990s, collective work flagged and the office became much quieter. "The work of the office is [...] currently on hold," it said in 2000.

Only Jotter continues to act as a political artist to the present day. A water installation for the international conference in the course of the United Nations Framework Convention on Climate Change in Bonn in 2001 ( climate summit ) attracted international attention , where he sunk a portrait of US President George Bush, surrounded by American flags, up to his neck in the Rhine.

In 2013/14 the "Office for Unusual Measures" continues its work with real assemblies in public space with the series "Merkel goes to demo" - here with the heads of the 4 energy monopoly at a demonstration in 2014 on the energy transition Photo: Elke Hollmann

At the end of 2013, Kurt Jotter started again to resume the original conception and work of the BfM and to set up a group for this work. A first video of demo campaigns with living female chancellor caricatures has been posted on a YouTube channel of the BfM. New forms of campaigns that have already been planned - in particular with a focus on the problem of rent and displacement - are continuously documented here, just as earlier campaigns are gradually being digitized.

Red-X campaign with tenants for the Berlin Energy Days 2015 - The white buttons read: ENTMIRED through energetic modernization ... Photo: Elke Hollmann

Political and artistic reception

The "AG Spass muss sein!", Publisher of a new edition of the work "Spassguerilla" from 1994, praised the campaign against the meeting of the IMF and the World Bank because of its "interlinking of the counter-congress, classic autonomous forms of action etc. on the one hand and [...] cultural activities on the other "And emphasized:" For the first time after '68, art and happenings became a politically mobilizing and mediating component of the protest, a consistently implemented culture of resistance. "It was emphasized that" because of the (sic!) Sympathies [...] of the actions in the population ”during the meeting“ the public space could be recaptured and a lively political and cultural culture of resistance carried onto the streets and squares ”.

Oliver Tolmein particularly praised “Drumming in the Night” from the campaign as “the core of the days of action that also include more militant forms of resistance”, because there it was possible to guarantee the public, create sympathy and unite a broad spectrum of resistance and thus prevent “the Police could isolate individual groups and then attack ”.

The theater scholar Martin Maria Kohtes recognizes parallels and similarities with the American guerrilla theater , a form of political street theater of the 1960s, in the office's “anarchic joke and [the] imaginatively exuberant actions” .

The then Federal Minister for Special Tasks , Hans “Johnny” Klein (CSU), on the other hand, wrote in 1991, referring to the enthusiasm for reunification and an indirect reference to the anti-reunification actions of the office: “How ridiculous appeared - a term that Heinrich Böll had previously coined for a different purpose - the 'rat-like rage' with which the riot scene, AL, the subversive 'Office for Unusual Measures' and other left groups agitated for the SED state. "

In the Austrian art magazine malpractice Doc Holliday in 2003 wrote summarizing about the agency: "If the policy is pathetic and ridiculous, it is the task of art, this policy of ridicule admit. The activists counter the stone-throwing street fighter with the playful ironization of neoliberal reality by means of the performance. This is a different form of art, far removed from the conventional, elitist art business with its penetrating star cult. "

Adaptations of the name

The name “Office for Unusual Measures” found some widespread use; it has been adapted from more or less related initiatives in some cities in German-speaking countries. For example, offices with this name exist or existed in Bremen, Vienna, Freiburg, Gütersloh and Leipzig. Conceptually and politically, however, these initiatives behave very differently both to each other and to the original office and none sought to bridge the gap between art and politics in the strict form of the Berlin original.

While the Bremen project, for example, sees itself as an “organizational context of artists from various fields, for the planning and implementation of artistic and cultural-educational projects” without any further political focus, the Vienna office is a department of the Austrian minorities initiative , for which it carries out anti-racist public relations work. The Gütersloh office, in turn, accompanies campaigns by the regional Antifa . Although there were (albeit specific) political priorities, the means of public relations (such as publications, management of an archive) were not directed aggressively at the public space, nor is a synthesis of politics and art of as central importance here as in Berlin Case.

literature

  • Office for Unusual Measures / Federal Congress of Development Action Groups (ed.): Wut, Joke, Resistance: The IMF / WB Campaign in Pictures and Words , Schmetterling, Stuttgart 1989, ISBN 3-926369-59-0 .

Web links

Individual evidence

  1. ↑ a b c d e f g h i j k l Good things from below . In: Der Spiegel . No.  49 , 1987, pp. 280 ( online ).
  2. ↑ dame.von.welt: Obituary: Barbara Petersen. In: freitag.de. October 10, 2014, accessed September 11, 2017 .
  3. ^ Gregor Eisenhauer: Barbara Petersen (born 1951). In: tagesspiegel.de. April 16, 2015, accessed September 11, 2017 .
  4. ↑ a b c d e f g h i j k Sandy Kaltenborn, Holger Bedurke: Political, social engagement & graphic design. Berlin 2000, ISBN 3-926796-62-6 , pp. 120-127.
  5. ↑ a b c d autonomous afrika group, Luther Blissett , Sonja Brünzels: Handbook of the communication guerrilla - how do I help myself. 4th edition. Association A, Hamburg / Berlin 2001, ISBN 3-935936-04-4 , p. 88.
  6. ↑ a b c Kurt (Jotter): The laugh in the throat or of the art of survival between the ruins. April 77 / July 80, Facsimile In: Sandy Kaltenborn, Holger Bedurke: Political, social engagement & graphic design. Berlin 2000, ISBN 3-926796-62-6 , p. 126.
  7. ↑ pd: Berlin is getting bright. Zitty, 6/87
  8. ↑ Anonymous: Landowsky praises “Berlin is getting bright”. In: the daily newspaper. No. 2166, March 24, 1987.
  9. ↑ Ernst Volland : This book is pure forgery. From A to Z: Everything is fake. Zweiausendeins, Frankfurt 1989, DNB 891381856 , pp. 158-165.
  10. ↑ Office for Unusual Measures, SAM DRAM: Barrage - To conquer the public space. In: Office for unusual measures, Federal Congress of Development Action Groups (ed.): Wut, Joke, Resistance: The IMF / WB campaign in pictures and words . Butterfly Verlag, Stuttgart 1989, ISBN 3-926369-59-0 , p. 56-60 .
  11. ↑ Dieter Rucht, Barbara Blattert, Dieter Rink: Social movements on the way to institutionalization - on the structural change of "alternative" groups in both parts of Germany. 1997, ISBN 3-593-35715-1 , p. 130.
  12. ↑ Brigitte Fehrle: Pig system and object of desire. In: the daily newspaper. Berlin local No. 2602, September 5, 1988, p. 18.
  13. ^ A b c Martin Maria Kohtes: Guerilla Theater - Theory and Practice of Political Street Theater in the USA. Tübingen, 1990, ISBN 3-8233-4025-5 , p. 227.
  14. ^ A b Gottfried Korff: Two times 750 years of Berlin. The city anniversary in comparison. In: Gerd Meyer, Jürgen Schröder (eds.): GDR today. Change tendencies and contradictions of a socialist industrial society. Tübingen 1988, ISBN 3-87808-567-2 , p. 147.
  15. ↑ Anonymous: The days of action from September 26th to 29th. In: the daily newspaper. No. 2607, September 10, 1988, p. 8.
  16. ^ Office for Unusual Measures, Federal Congress of Development Action Groups: Anger, Joke, Resistance: The IMF / WB campaign in pictures and words. Butterfly, Stuttgart 1989, ISBN 3-926369-59-0 .
  17. ↑ Qpferdach (d. I. Hans Joachim Wacker): familiarization price . In: the daily newspaper. Berlin local, No. 2648, October 28, 1988, p. 17.
  18. ↑ Anonymous: A crow chops ... In: the daily newspaper. Berlin local, No. 3045, February 28, 1990, p. 22.
  19. ↑ plu: Judge Weiss reacted with impunity. In: the daily newspaper. Berlin local, No. 2922, September 28, 1989, p. 24.
  20. ↑ Germany, shut up . In: Der Spiegel . No.  40 , 1990, pp. 149-150 ( online ).
  21. ↑ usche: 7 to 12: Foundation of »Utopia«. In: the daily newspaper. Berlin local, No. 3225, October 2, 1990, p. 22.
  22. ^ Declaration of independence of the Republic of Utopia In: the other . No. 38, October 10, 1990, Der Anzeiger für Politik, Kultur und Kunst, independent weekly newspaper, online
  23. ↑ Jutta Braband: A GDR biography in PIZZA (ed.) Odanoel. The left between the worlds. Association A, 1992, ISBN 3-922611-28-1 , p. 149.
  24. ↑ abc: Lenin Monument - Nonviolent packaging. In: the daily newspaper. Berlin local, No. 3524, October 2, 1991, p. 21.
  25. ↑ Dieter E. Zimmer : What to do with Lenin? In: The time. No. 43, October 18, 1991, p. 93.
  26. ↑ Dear Governing Mayor of Diepgen. In: the daily newspaper. October 4, 1991, p. 20.
  27. ^ Rüdiger Zill: Reflexes and Reflections. Three positions of thought to the reality of magic. In: Ursula Franke, Josef Früchtl (Ed.): Art and Democracy. Positions at the beginning of the 21st century. Special issue of 2003 of the magazine for aesthetics and general art history, ISBN 3-7873-1667-1 , p. 78.
  28. ↑ hmt: willingness to help refugees. In: the daily newspaper. Berlin local, No. 2662, November 14, 1988, p. 17.
  29. ↑ Anonymous: War for Peace? In: the daily newspaper. TAZ Ost, No. 3358, March 16, 1991, p. 29.
  30. ↑ am: Package contra Camel. In: the daily newspaper. Berlin local, No. 3095, April 30, 1990, p. 22.
  31. ↑ Anonymous: The witches dance. In: the daily newspaper. Berlin local, No. 3096, May 2, 1990, p. 22.
  32. ↑ Reiner Schweinfurth: In the stream of electrons - An encounter between theater and video. In: Zitty. 5/85, p. 76.
  33. ↑ Anonymous: Re: Home installation "Flood" in the Kaufhof at Alexanderplatz. In: the daily newspaper. Berlin local, No. 4242, February 17, 1994, p. 17.
  34. ↑ Marion Schierz: Flood of water in the furniture shop window. In: Berliner Zeitung. February 12, 1994.
  35. ↑ Ulrich Clewing: Lookup. In: the daily newspaper. Berlin local, No. 4300, April 28, 1994, p. 24.
  36. ↑ Time.com: Pictures of the week - July 14 - July 20. online ( Memento from September 3, 2010 in the Internet Archive )
  37. ↑ AG Fun Must Be !: With anger and wit against the "International Murder Foundation". In: AG Fun Must Be! (Ed.): Spassguerilla - Reprint. Münster 2001, ISBN 3-89771-951-7 , p. 242.
  38. ↑ Oliver Tolmein, In: Concrete. 11/88, quoted from: Office for Unusual Measures, SAM DRAM: Barrage - To conquer the public space. In: Office for unusual measures, Federal Congress of Development Action Groups (ed.): Wut, Joke, Resistance: The IMF / WB campaign in pictures and words . Butterfly Verlag, Stuttgart 1989, ISBN 3-926369-59-0 , p. 59 .
  39. ↑ Hans Klein: It began in the Caucasus - the decisive step towards the unity of Germany. Ullstein, Berlin / Frankfurt am Main 1991, ISBN 3-550-07806-4 , p. 170.
  40. ↑ Doc Holliday: Artists, Taboos, Actions - Some basic remarks on scandal, art and actionism. In: kunst Fehler.at. October 2003, accessed May 2, 2018 .
  41. ↑ commercial register HRB 5754. In: handelsregister-online.net. Retrieved June 26, 2014 .
  42. ↑ Office for Unusual Measures, Bremen: www.bum-bremen.de/script/bum.php Accessed on September 18, 2010 (Link dead on June 28, 2014)
  43. ^ Initiative Minorities, Vienna Office: Annual Report 2004. online (PDF; 116 kB). Accessed September 19, 2010
  44. ↑ Forward, and never forget the solidarity! The struggle for basic social and political rights was, is and will remain on the left! / Left call for a demonstration "against social cuts and pension theft" on September 16. Call the office for unusual measures. In: hiergeblieben.de. September 11, 2006, accessed October 2, 2019 .
This article was added to the list of articles worth reading on May 19, 2011 in this version .