Diedrich Diederichsen (cultural scientist)

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Diedrich Diederichsen (2015)

Diedrich Diederichsen (born August 15, 1957 in Hamburg ) is a German cultural scientist , critic , journalist , curator , author , essayist and university professor . He is considered one of the most important German pop theorists .


Diedrich Diederichsen was born as the son of the theater scholar of the same name and a teacher in Hamburg, where he grew up with his younger brother Detlef . He attended the Johanneum School of Academics , where he graduated from high school in 1975. At the University of Hamburg he studied Hispanic Studies, Modern German Literature, Linguistics and Philosophy. Marxist influenced by Hamburg K-group discussions, he found himself in the music scene at the end of the 1970s. The separation from the Marxist circles took place due to aesthetic and political differences, which were intensified by current subcultural currents and phenomena of upheaval such as punk , New Wave and Neue Deutsche Welle . Diedrich Diederichsen broke off his academic doctorate (via Luis Buñuel ) in favor of a journalistic career. From 1979 to 1983 he worked as an editor for the music magazine Sounds . In Sounds , he took a decidedly anti- rockist position until the magazine was dissolved . In the Hamburg music scene, he worked on short-lived experimental music projects in the journalistic and artistic environment (thoughtful conscripts, flying class enemy , LSDAP / AO).

Diedrich Diederichsen lived in Cologne from the mid-1980s. From 1985 to 1990 he was editor-in-chief ( V. i. S. d. P. ) of the music and pop culture magazine Spex . He also worked as a consultant and copywriter for the KKG agency (" Michael Schirner Advertising and Project Agency") that emerged from the Düsseldorf advertising agency GGK . As an active member of the locally based and internationally active art scene in Cologne, he took part in campaigns, exhibitions and events in the form of catalog articles, lectures and discussions. Together with the Afro-American artist Renée Green , Diedrich Diederichsen developed a dialogical exchange about the reception of Afro-American culture, which the artist incorporated into her installation work Import / Export Funk Office . With Gerd Gummersbach, Publishing Director at Spex , Diedrich Diederichsen regularly played dancehall reggae as the “Dread Beat” DJ team. At the time he was dating the artist Jutta Koether . Diedrich Diederichsen has been on friendly terms with the artistic development of Albert Oehlen , Werner Büttner and Martin Kippenberger from the start.

After retiring from the Spex editorial team, Diedrich Diederichsen concentrated on his work in the fields of cultural theory and academia. Since 1992 he has worked as a permanent lecturer at the Merz Academy , Stuttgart; from 1998 to 2006 he was a professor there. In addition, he took on teaching positions at various other university educational institutions. Diederichsen taught a. a. at the Städelschule , Frankfurt / M .; at the Art Center College of Design, Pasadena , California; at the Academy of Fine Arts , Munich; at the Hochschule für Gestaltung , Offenbach; at the University of Bremen ; at the Bauhaus University , Weimar; at the Justus Liebig University , Giessen; and at the University of Vienna .

At the end of the 1990s, Diedrich Diederichsen relocated from Cologne to Berlin . From 2002 to 2005 he was a member of the jury of the Federal Cultural Foundation . Diedrich Diederichsen has been active in various advisory bodies since the late 1990s. Since 1998 he has been a member of the Advisory Board for Texts on Art . From 2000 onwards, he worked for a number of years as a member of the “Sound Council” for “Sound Studies” at the UdK Berlin . Since 2002 he has been on the advisory board of the “ZMI - Center for Media and Interactivity” at the Justus Liebig University in Giessen. Diederichsen has been on the advisory board for the Berlin Arsenal cinema since 2005 and on the advisory board for the “Sound Studies” series at transcript Verlag since 2008 . He represented the NGBK ( New Society for Fine Arts in Berlin) as a member of the executive committee from 2010 to 2014. Since 2011 he has been a member of the artistic advisory board of the Steirischer Herbst festival in Graz. 2014 he was alongside Anke Engelke , Christoph jacket and Jochen Hülder to the advisory board of the of his weekly guided "Institute of Popular Music" of the Folkwang University of the Arts appointed at the site Zeche Bochum.

Since 2006 Diedrich Diederichsen has been teaching as a professor for theory, practice and communication of contemporary art at the Academy of Fine Arts Vienna . His academic research areas are: Pop music as a model of contemporary culture; The “third culture industry”: network cultures and entertainment architecture; Neo-formalism, psychedelia; Martin Kippenberger and his time.

Diedrich Diederichsen was married to the art theorist and philosopher Juliane Rebentisch .


Sex beat

Diedrich Diederichsen (1984)

Through his journalistic and editorial work at Sounds , Diedrich Diederichsen gained a reputation as an intellectual luminary for pop music and post-structuralist theory. He became known for his pointed anti-rockist socio-typological characterization of expectations and reception habits in rock and pop music culture, which made him a controversial figurehead. Alongside and after working at Sounds , Diederichsen published some author articles in Spiegel . In addition, he regularly published texts in the city ​​magazine Szene Hamburg and in the magazine concrete .

At the same time as he started working as editor-in-chief of Spex , Diedrich Diederichsen established himself in 1985 with the book Sexbeat at Kiepenheuer & Witsch as a trend-setting theorist and essayist at the interface between pop, politics and art. In his critical review of the book in the Spiegel, Markus Peichl titled Diedrich Diederichsen as a “pop columnist, left-wing hater, committed accountant of the subculture, pope of the scene by his own grace” and as a “living myth of German subculture”.

The book Sexbeat is divided into 73 short sections, each with concise headings; there are also some small snapshot photographs from the author's holdings in black and white. In a conspiratorial tone, the story of the “more and more” is told, by which the subculture (Bohemia) has been driven since the early 1970s. With the help of cultural temporal phenomena such as nightlife, post-structuralism, LSD drug consumption, “great friends”, hipsters and hip intellectuals, gossip and Bolshevique chic, the historical impasse of “more and more” is represented. After the linear increase in intensity experiences - as determined subcultural life according to Diederichsen's diagnosis of the time - has come to an end, the subcultural scene is now determined by a “second-order generation”. Just like the previous subcultural activists, the second-order generation is concerned not to be corrupted, not to “play their game”. Due to the changed historical situation, however, the expressive, consciousness-expanding and emancipatory efforts of the past will not be continued. Instead, Diederichsen uses his descriptions and diagnoses to create a bohemian scene made up of women, artists, beatniks and intellectuals , whose excessive and charged cultural production can bring the ruling system to collapse.

With its criticism of immediacy, inwardness and linear belief in progress, Sexbeat expresses the various euphoric and affirmative, but also critical and subject-theoretical aspects of Diederichsen's thinking in the 1980s. While the subject of Diederichsen's magazine articles is tied to a current occasion, the short text sections in Sexbeat deal with general social tendencies and everyday cultural temporal phenomena. Diederichsen writes in an independent, light and witty style that is enriched with individual descriptions of experiences from a personal perspective and apodictically presents general opinions and astute assessments as historical and sociological facts. The references are varied. With Sexbeat , Diederichsen u. a. on New Journalism , on Anglo-Saxon pop journalism ( Greil Marcus , Glenn O'Brien , Nik Cohn , Tony Parsons, Simon Frith, Lester Bangs ), but also on Beat literature , on the structuralism of Roland Barthes and the postmodern collapse of the great narratives in the age of minorities à la Jean-François Lyotard , on situationism and Marxist analysis of class struggle, commodity form , relations of production and ideology. The book Sexbeat was read in various places as a generation portrait and postmodern pamphlet.

Pop journalism

From the mid-1980s to the 1990s, Diedrich Diederichsen, as author, editor and publisher of the Cologne music and culture magazine Spex, continued the expanded concept of pop journalism as he developed it towards the end of the Sounds years. During his time at Spex , Diederichsen withdrew his critical position on rock more and more and also revised his affirmative-apodictic pop stance.

At the beginning of the Spex Diederichsen wrote texts for the self-created column "War and Peace", in which he commented on current cultural events and tendencies from a personal point of view. The magazine Spex (subtitle: "Musik zur Zeit") acted as a central forum for discussions of contemporary life in a subcultural environment. In the following years the magazine was strongly influenced by Diederichsen's text contributions and his editorial work. The cultural references, affections and positions of contemporary pop, underground and independent music were brought up in an extraordinarily text-heavy, detailed and well-founded manner. The personal - partly identifying, partly analytical - relation to the music discussed and the respective musicians was not excluded, but rather addressed in the interrelated reviews and reports. The self-published magazine Spex (whose co-editor Diederichsen remained until 2000) was used as a journalistic platform to pursue opinion- forming and discourse politics beyond the mainstream , as independently as possible of the interests of the music industry. The personal reference to the readership was established in the direct responses to letters to the editor and in the editorials, columns and rubrics, where some general news from the entertainment industry was presented from a strongly subjectivist perspective. With his stance at Spex, Diedrich Diederichsen made a significant contribution to the fact that the magazine, with its punk fanzine references, built up an opposition to the Zeitgeist / Lifestyle / Yuppie publications that were successful at the time, such as Tempo and Wiener .

With the large-format book publication 1,500 records (1979–1989) , Diedrich Diederichsen compiled the numerous record reviews in facsimile that he had published in the magazines Sounds , Spex and concrete in the 1980s . The record review is presented as an independent text form. Almost every individually numbered record review has been commented on in a section of notes, historically contextualized and in some cases also re-evaluated. The collection of record reviews begins with an extensive programmatic text: “Music and dissidence in the 80s - table of contents of a theory”. In rock music from the independent and underground areas, Diederichsen recognizes the expression of social contradictions as well as the possibility of their transformation. In hip-hop and trash music, dissidence and irreconcilability are also emphasized as differentiating practices, despite the cultural-industrial character of stylistic devices and forms. The essay places subcultural music production and consumption in a global political context of exploitation , resistance and enjoyment.

Cultural theory

Diedrich Diederichsen (2005)

The beginning of a series of cultural theoretical book publications by Verlag Kiepenheuer & Witsch was marked by the collection of articles Freedom Makes you poor from 1993. Freedom makes you poor and the subsequent books Political Corrections (1996) and The Long Way to Middle (1999) were later also referred to as "90s- Years Trilogy ”. The author's name and the title of the book are typographically similar on all three publications. The coloring (cover image in dark black and white, book title in red, author's name in yellow) suggests a German theme. All books have black and white photos with a strong political effect on the cover: Freedom makes you poor shows a picture from Larry Clark's photo book Teenage Lust with young people lying naked on the beach; Political corrections shows a blurred photo of Beate Klarsfeld slapping Chancellor Kurt Georg Kiesinger in the face; The long way to Mitte shows a dark path between chain-link fences that leads through the construction site of Potsdamer Platz .

Under the impression of German reunification , the texts explicitly deal with political issues and discuss current arguments in the left spectrum. Diedrich Diederichsen says “Farewell to youth culture” under the title “The Kids Are Not Alright”. Diederichsen reads the fact that insignia of resistant, deviant youth culture - such as hip-hop baseball caps - appear in the perpetrators of xenophobic attacks as an indication that youth cultural “dissidence” is no longer immanently emancipatory and left-wing. To a large extent, Diederichsen deals in his texts with (productive) misunderstandings, black nationalism issues and translation difficulties in dealing with American hip-hop music.

Diedrich Diederichsen increasingly dealt with the subject and identity political issues of cultural studies coming from the USA . In Political Corrections , he advocates conducting the discussion about “ Political Correctness ” in the German cultural area as well - as an opportunity to address the political dimension of cultural symbol production. Against the background of the hype about Berlin-Mitte / Prenzlauer Berg as a lively place of subcultural practice, the last title of the "90s trilogy", The Long Way to Center , addresses the city as a place of situation and atmosphere as well as a production site of self-exploitation in the artistic milieu.

At the end of the 1990s, Diedrich Diederichsen began to regularly publish texts in taz , Die Zeit and Süddeutsche Zeitung . He has also been writing regularly for Theater heute since then .

On the occasion of the federal election in 2005 , a debate about political orientation in the hedonistic urban environment aroused the interest of the feature pages. Diedrich Diederichsen's protégé Ulf Poschardt had published several articles in which he had recommended the choice of the FDP as a logical consequence of a young, dynamic, progressive, pop-hedonistic way of life. In the Süddeutsche Zeitung , Diedrich Diederichsen then published an article in which he presented Poschardt's argument as a symptom of a flavourful, opportunistic bourgeoisie. As a form of narcissistic conformism, Diederichsen had previously characterized in his text "The License to Zero Position" a pleasing type of pop literature, such as that represented by Benjamin von Stuckrad-Barre .

Art context

With the text collections Musikzimmer (2005), Eigenblutdoping (2008) and Critique of the Eye (2008), Diedrich Diederichsen published works that deal stylistically in different ways with the relationships between individuality and neoliberalism in the art context. In the music room there are short columns from the Tagesspiegel , which present events, observations and analyzes in a contemplative style whose points of contact are more in the area of new music than in pop music and in which music sometimes only plays a marginal role. Autologous blood doping is based on a series of lectures at the Hamburger Kunstverein and addresses the precarious living and working conditions and current strategies in the socio-cultural environment of the artist scene as well as functions and projections in relation to stars and identification figures staged by mass culture. The concept of autologous blood doping , borrowed from the world of sport, alludes to the form of identification that is increased through self-motivation and self-marketing, as it is demanded and practiced in contemporary culture. With the subtitle “Texts on Art”, “ Critique of the Eye ” presents a selection of conceptual essays that have already appeared in other contexts, in which the possibility of a protopolitical function of art is discussed on the basis of psychedelic experience, decontextualization in Minimal Art and subcultural social practice.

In 2009 Diedrich Diederichsen curated the exhibition Schere - Stein - Papier at the Kunsthaus Graz , which dealt with pop music as an object of visual art (with Mike Kelley , Kim Gordon , Art & Language , Albert Oehlen and Saâdane Afif, among others ). The scissors in the title of the exhibition refer to the principle of assembly, the stone stands for heaviness, physicality and rock, and the paper represents the projection surface in art.

Together with Anselm Franke, Diedrich Diederichsen curated the 2013 exhibition The Whole Earth - California and the Disappearance of the Outside in the House of World Cultures in Berlin. The exhibition focuses on the planetary view of the earth, as expressed in the 1970s for the ecology movement with the image of the Blue Marble . The Whole Earth Catalog - on the cover of which the image of the globe was presented as an emblematic one - serves as a key publication for establishing links between countercultural social movements of the 1960s in California, computer and network technology, cybernetics and ecology. The socio-political perspective of the topic extends to “today globally effective concepts of system and self-management in network capitalism”. The exhibition presents works of art and cultural and historical materials. A conference will be held to accompany the exhibition.

Diedrich Diederichsen has been working on a monograph on Martin Kippenberger for several years.

Quality TV series

After an article about Ally McBeal , Diedrich Diederichsen became aware of the series The Sopranos around 2000 . The preoccupation with current American TV series slowly began to gain importance in the critical work of Diedrich Diederichsen. At a symposium at the Merz Academy ( Remediate. Revolution of Audiovisions. Properties and Production Methods of 'Quality TV Series' ) he gave a lecture entitled “Reading and rereading. Scroll through films ". In it he discusses the literary qualities of the epic “quality series” using The Wire as an example . About the series 30 Rock - by and with Tina Fey - he published an enthusiastic article in Die Zeit .

As a result of dealing with the quality TV series, The Sopranos was published in book form by diaphanes in 2012 . Without spoilers , the “booklet” provides background analyzes of the structure and functionality of the series, which is intended to facilitate entry into the world of series and to expand understanding. The explanations are psychoanalytically, structurally and sociologically oriented, but are presented without any academic style. Thematically, Diedrich Diederichsen deals in The Sopranos with the addiction factor of the series and the identifying reflections and refractions that the viewer of the series goes through. The narrative complexity of the series is highlighted as a moment through which different audiences can feel drawn to the series' stories and characters. The Sopranos is an analysis of the genre in which different narrative speeds and selected topologies produce a new quality of moving image narration.

About pop music

In spring 2014, Diedrich Diederichsen published his most extensive coherent theoretical text at Kiepenheuer & Witsch: About Pop Music . The author explains his aesthetic reception approach to pop music on more than 450 large-format book pages. Pop music is described as a hybrid, multimedia art form and presented as a business field, the time of which coincides with the first TV appearances of Elvis Presley in 1956. In contrast to the previous trading in scores, pop music established itself as a business model with the trading of sound recordings. The focus of pop music is no longer in the musical area (features such as melody, harmony and rhythm that can be reproduced with the help of notes), but in technologically reproducible sound events. Together with the media circulation of images, the star is composed as a product of pop music through the active work of the recipient. The reproducible sound recordings are recorded by the recipient in their private space and associated with the additional information that is broadcast via separate media channels (television, magazines, album covers, etc.). After the media network of cinema and radio diagnosed by Theodor W. Adorno and Max Horkheimer , pop music, with the shift from melody to sound, presents itself together with television as the second cultural industry.

To describe the complex of pop music, Diedrich Diederichsen uses terms from the philosophy of sign theory, psychoanalysis and art theory. The contingent potential of pop musical works is explained with the help of the “punctum” from Roland Barthe's photography theory. The sound of pop music functions as a fetish, a totem, and a logo. Through the integrating function of sound, cultural scenes are established in which the private individual finds himself. In pop music, integration takes place via social codes, dating cultures and fashion, with Diederichsen particularly emphasizing the pose with recourse to Craig Owens . With the reception aesthetic argumentation, the book presents a coherent theory. At the same time, individual moments of pop music are discussed in detail in excursions. One section deals with the work of the pop musician Joe Meek . Another section deals with Theodor W. Adorno's “jazz subject” and explains jazz as a specific Afro-American form of culture whose ambivalence is seen in connection with “double consciousness” ( WEB Du Bois ).

The Internet has technologically merged the various media channels, which reduces the recipient's physical synthesis. In the 21st century, the heroic age is followed by the post-heroic age in pop music.

The book was nominated for the Leipzig Book Fair Prize (category: non-fiction / essay writing ). There were many reviews in the features section, the response of which was largely positive.

Body hit

In 2015 Diedrich Diederichsen was invited to give the Frankfurt Adorno Lectures at the Institute for Social Research . In 2017, these lectures were summarized under the title Body Hit. On the aesthetics of the post-popular arts in Suhrkamp-Verlag. In dealing with the concept of the culture industry, Diederichsen developed a theory of the post-popular arts. The technological possibilities of recording and reproducing artistic performances have resulted in index arts that transmit physical effects since the 1960s. While bourgeois art describes individual development as an enlightening movement and the popular arts focus on the individual as a figure of identification, the post-popular arts use recording technologies for presence effects that are uncontrolled and uncontrollable. In explaining his theory, Diederichsen refers to a variety of artistic practices ( Andy Warhol's Factory , Throbbing Gristle , La Monte Young , Slapstick , YouTube - Influencer , ASMR ).


Scattered writings and discourse activity

The numerous texts and publications by Diedrich Diederichsen are scattered around. Diederichsen is a prolific writer and primarily uses up-to-date newspapers and magazines to publish his texts. Many publications can only be found in small-run exhibition catalogs or other temporary ((art) project-related) publications. Some of the texts were later published in book form (such as the music-related essays from the Tagesspiegel or the record reviews in the book publications 1,500 records and 2,000 records ).

Diedrich Diederichsen's journalistic texts have been published in various periodicals, including a .: Sounds , Hamburg (1979-1983); Scene Hamburg , Hamburg (1980–1985); Spex , Cologne (1983–1999; again since 2011); concrete , Hamburg (1983-1994); Der Spiegel , Hamburg (1982–1990); taz , Berlin (since 1994); Die Beute , Frankfurt, Berlin, Amsterdam (1994–1998); Jungle World , Berlin (1998-2008); Die Zeit , Hamburg (since 1998); Süddeutsche Zeitung , Munich (since 1998); Frankfurter Allgemeine Zeitung , Frankfurt / M. (since 1999); Tagesspiegel , Berlin (2000–2006); Theater heute , Berlin (since 2000); Texts on Art , Cologne (since 1990); Cargo , Berlin (since 2009). Numerous texts have appeared exclusively in English-language publications ( Artscribe , London (1986–1990); Artforum , New York (since 1988); Frieze , London (since 1999)).

Diedrich Diederichsen takes an undogmatic, but certain left-wing position, whereby he not only approaches individual works of art, but also criticizes the art system or the art business as a whole. He develops the topics and theses of his texts in active engagement with group discussions. Through his journalistic work, his university teaching activities and also through his participation in lectures, public panel discussions and discussions in private reference groups, the content and lines of argument of the texts change. In this way, some texts are sometimes rewritten several times over the course of time, so that the focal points, arguments and perspectives can differ depending on the place and date of publication, the occasion, the target group and the status of the discussion.

Due to his sensitivity to cultural trends and social tendencies, Diedrich Diederichsen's current topics are often taken up and used in journalistic contexts outside of their place of origin.

Criticism between analysis and enjoyment

Diedrich Diederichsen appears as an author with his writings. The reviews and essays are characterized by their distinctive individual taste and detailed encyclopedic knowledge. Many artists and theorists are cited again and again as a leitmotif and point of reference in the course of his journalistic activity ( Bob Dylan , Theodor W. Adorno, Andy Warhol, Albert Ayler and others). In particular, the individual reviews of music recordings and movies are self-critical discussions about one's own pleasure, enjoyment or displeasure with the respective work. In his texts, Diederichsen often criticizes stereotypical patterns in established and common ideas, while his texts - sometimes in very long sentences with extensive prepositional phrases and analytical insertions - pursue arguments apart from cliché formation. Apparent secondary matters of art mediation can also become the main topic, provided that decisive knowledge can be gained and presented. The individual reception takes place in a social-historical context that includes autobiographical references and takes social-psychological ascriptions into account. The psychoanalytically shaped description and evaluation of the work of art and cultural product is drawn from the structural context of the object and its production context in order to be presented in a precise, intellectualistic language with extensive vocabulary, conceptual complexity and in some cases on a high level of abstraction.

Independent of high culture / mass culture contrasts, Diederichsen can devote his attention equally intensively to different cultural phenomena. To describe desires, projections and attitudes, he uses sophisticated vocabulary from the academic and scientific fields in his often programmatic texts alongside those from slang, jargon and mass culture. The “pop” attribute of the “pop theorist” is due to the stylistic and thematic mix of trivial and avant-garde culture. The devoted enthusiasm for the subject of criticism also contributes to the “pop” moment. Diederichsen sometimes also uses jazz improvisation techniques when he associatively varies a topic with different stylistic devices from different perspectives.

The texts and theses of Diedrich Diederichsen are received controversially, they have a polarizing effect and also meet with rejection. The points of criticism are u. a. put forward: the elaborate language is inadequate for the trivial or lightweight object; Pop theory is now an established discipline, the institutionalization of which is concealed and nostalgically glorified by means of subcultural reference; Criticism of immediacy disregards the emotional connection and enjoyment in order to serve as a gain in distinction and to promote exclusion; Argumentation and text form do not meet the rules of academic science.


  • Diedrich Diederichsen graduated from the Johanneum -Gymnasium in Hamburg with an average grade of 2.2.
  • The figure of Negro Negroes in the story "Subito" (1983) by Rainald Goetz is an allusion to Diedrich Diederichsen.
  • For the follow-up publication of Sounds , Musikexpress / Sounds , Diedrich Diederichsen wrote under a pseudonym (as Stefan Svoboda).
  • In 2003 the music group Saalschutz brought out an ironic piece called “Diedrich Diederichsen”. Text excerpt: “Diedrich Diederichsen, we love you, / but we don't understand your books. / You are so introverted and original. / We buy them and put them on the bookcase. "
  • The music journalist played by Christian Ulmen in the film Verschwende Deine Jugend was originally intended to portray Diedrich Diederichsen. “But I have alienated it beyond recognition. I no longer know whether that was on purpose, ”Christian Ulmen later explained in the Netzeitung on June 7, 2006.
  • In May 2005 Diedrich Diederichsen sang “At Last I Am Free” in the Volksbühne Berlin together with the Rias Youth Orchestra.
  • The tape "Diedrich Diedrichsen will be killed" by Georgie D., published in 1982 on Datenverarbeitung DATA 0013, contained u. a. the track of the same name.
  • In 1987 Walter Elf released the song “Provinz” on their LP “heute oder nie” ( We Bite , number 015). It says u. a .: “You don't understand Diederichsen” and “Spex looks like the golden leaf”.

Book publications

Publications as an author

  • Sex beat. 1972 until today . Cologne: Kiepenheuer & Witsch, 1985. 183 pp. ISBN 3-462-03173-2 In
    2002 a new edition with a new foreword was published by Kiepenheuer & Witsch. 224 pp. ISBN 3-462-03173-2
  • Elektra - Writings on Art . Hamburg: Meterverlag, 1986. 192 pp.
  • Mr. Dietrichsen. Novel . Cologne: Kiepenheuer & Witsch, 1987. 201 pp. ISBN 3-462-01874-4
  • Popocatepetl. 10 years of records . Madrid: Galeria Juana de Aizpuru / Graz: Forum Stadtpark, 1989. 240 p. German / Spanish
  • 1,500 records. 1979-1989 . Cologne: Kiepenheuer & Witsch, 1989. 247 pp. ISBN 3-462-02005-6
    Published in 2000, updated as: 2.000 records. 1979-1999 . Höfen: Hannibal Verlag, 2000. 447 pp. ISBN 3-85445-175-X
  • Freedom makes you poor. Life after Rock'n'Roll 1990–93 . Cologne: Kiepenheuer & Witsch, 1993, 288 pp. ISBN 3-462-02307-1
  • Political corrections . Cologne: Kiepenheuer & Witsch, 1996. 192 pp. ISBN 3-462-02551-1
  • The long way to the center - the sound and the city . Cologne: Kiepenheuer & Witsch, 1999. 310 pp. ISBN 3-462-02816-2
  • Personas en loop. Ensayos sobre cultura pop Buenos Aires: Interzona 2005. 208 pp. ISBN 978-987-1180-14-1 (new edition 2011: 168 pp. ISBN 978-987-1180-67-7 )
  • Music room. Avant-garde and everyday life . Cologne: Kiepenheuer & Witsch, 2005. 240 pp. ISBN 3-462-03644-0
  • Argument Son. De Britney Spears à Helmut Lachenmann: critique électro-acoustique de la société . Dijon: Les Presses du Réel, 2007. 252 pp. ISBN 978-2-84066-140-5
  • Autologous blood doping. Self-evaluation, artist romanticism, participation . Cologne: Kiepenheuer & Witsch, 2008. 278 pp. ISBN 978-3-462-03997-9
  • Criticism of the eye. Texts on art . Hamburg: Philo Fine Arts, 2008. 312 pp. ISBN 978-3-86572-648-3
  • On (Surplus) Value in Art. Added Value and Art. Meerwarde En art. (Reflections 01) . Rotterdam: Witte de With Publishers; Berlin, New York: Sternberg Press, 2008. 128 pp. English / German / Dutch. ISBN 978-1-933128-50-4
  • Psicodelia y ready-made . Buenos Aires: Adriana Hidalgo editora, 2010. 219 pp. ISBN 978-987-1556-48-9
  • The Sopranos . Zurich: Diaphanes, 2012. 112 pp. ISBN 978-3-03734-211-4
  • About pop music . Cologne: Kiepenheuer & Witsch, 2014. 474 pp. ISBN 978-3-462-04532-1
  • Body hit. On the aesthetics of the post-popular arts. Frankfurt Adorno Lectures 2015 . Berlin: Suhrkamp, ​​2017. 147 pp. ISBN 978-3-518-58693-8

Publications as editor

  • Staccato. Music and life . Kübler Verlag Michael Akselrad, Heidelberg 1982. 211 pp. ISBN 3-921265-29-0
  • Yo! Hermeneutics! Black cultural criticism. Pop, media, feminism . Edition ID-Archiv, Berlin / Amsterdam 1993, 235 pp. ISBN 3-89408-030-2
  • Loving The Alien. Science fiction, diaspora, multiculturalism . ID-Verlag, Berlin 1998. 217 pp. ISBN 3-89408-076-0
  • Golden Years. Materials and positions on queer subculture and avant-garde between 1959 and 1974 . [together with Christine Frisinghelli, Christoph Gurk, Matthias Haase, Juliane Rebentisch, Martin Saar, Ruth Sonderegger] Graz: Edition Camera Austria, 2006. 384 pp. ISBN 3-900508-46-1
  • Loudspeaker - Re: Art - Sound - Design . [together with Hartmut Albrecht, Rosina Huth] Stuttgart: Merz & Solitude, 2007. 128 pages with DVD-ROM. ISBN 978-3-937982-18-2
  • Martin Kippenberger: How it really was - using the example. Poetry and prose. Edited and with an afterword by Diedrich Diederichsen . Suhrkamp, ​​Frankfurt / M. 2007. 359 pp. ISBN 3-518-12486-2
  • Scissors stone paper. Pop music as an object of visual art . [together with Peter Pakesch] Graz: Kunsthaus Graz / Cologne: Verlag der Buchhandlung Walther König, 2009. 140 pp. ISBN 3-86560-657-1
  • Utopia of Sound. Immediacy and Non-Simultaneity . [together with Constanze Ruhm] Publications of the University of Fine Arts Vienna, Vol. 10. Schlebrügge Editor, Vienna 2010. 264 pp. ISBN 978-3-85160-173-2
  • The Whole Earth. California and the Disappearance of the Outside / The Whole Earth. California and the disappearance of the outside . [together with Anselm Franke] Berlin / New York: Sternberg Press / House of World Cultures, 2013. 208 pp. ISBN 978-3-943365-64-1 (English), ISBN 978-3-943365-76-4 ( German)

Web links

Commons : Diedrich Diederichsen  - Collection of Images

Individual evidence

  1. From 1984 to 1985 Diedrich Diederichsen lived in Düsseldorf and worked as a copywriter for the GGK advertising agency.
  2. The installation Import / Export Funk Office ( memento from September 11, 2012 in the web archive archive.today ) was shown in 1992 in the Christian Nagel gallery in Cologne. It later became part of the MOCA, Museum of Contemporary Art, Los Angeles.
  3. Occasionally Diedrich Diederichsen also works as a "DJ". In her blog Katja Kullmann describes a spontaneous encounter with Diedrich Diederichsen at the DJ desk under the title “ Berlin, Brunnenstrasse, Wednesday night ” (April 2008).
  4. At a Spex party in the Hamburg café “Schöne Aussichten”, Moni Kellermann photographed Diedrich Diederichsen together with Jutta Koether in 1985: [1]
  5. A graphic work by Martin Kippenberger from 1986 shows Diedrich Diederichsen behind a prototypical lectern between Kippenberger and Albert Oehlen. Martin Kippenberger: " Albert Oehlen and Diedrich Diederichsen present: The four best films in the world " Rainald Goetz has also been
    part of the core group of artist friends since the 1980s. Diedrich Diederichsen and Rainald Goetz can be seen together in a photo from 1984 that
    Alfred Hilsberg presents on the website of his music label (June 16, 1984, literary reading, festival "In der Wärme der Nacht", Markthalle Hamburg): [2] . 3 May 2012 came Diedrich Diedrichsen and Rainald Goetz at a joint reading at the Humboldt University of Berlin in [3] . In an experience report by Höfliche Paparazzi from 1990, Chris Duller describes a private meeting of Diedrich Diederichsen, Albert Oehlen, Rainald Goetz, Peter Pakesch , Martin Prinzhorn and Katharina Weingartner: [4]
  6. zmi.uni-giessen.de
  7. folkwang-uni.de
  8. Section “ Research Areas / Programs ” on Diederichsen's homepage at the Academy of Fine Arts Vienna
  9. The publication at Kiepenheuer & Witsch was supported by the editor Helge Malchow . Sexbeat was published by Kiepenheuer & Witsch when some genre-defining titles in pop literature were published, such as May, June, July (1987) by Joachim Lottmann and Beauty in Arms. Stories (1985) and the Rawums anthology . Texts on the subject (1984) by Peter Glaser . In 1987, Diedrich Diederichsen published a novel by Kiepenheuer & Witsch with the title Mr. Dietrichsen . Although its essayistic narrative form and the black-and-white printed snapshots can be understood as pop literary stylistic devices and the book title and the novel character of the same name mark a postmodern break in the author's position, the novel Herr Dietrichsen met with little response and was only rarely interpreted in the context of pop literature.
  10. Markus Peichl: In the leadership bunker of the subculture . In: Der Spiegel . No. 2 , 1986, p. 157 ( online ). The often used title "Pope" (later mostly combined as "Pop-Pope") reappears in 1991 in a text about the band Freiwillige Selbstkontrolle im Spiegel , in which Diederichsen is referred to as the "Pope of German subculture": Must i because . In: Der Spiegel . No.
     21 , 1991, p. 268 ( online ).
  11. ↑ In 2002 a new edition of Sexbeat was published by Kiepenheuer & Witsch with a current foreword (“And then they move, and then they move - 20 years later”), which reflects the reception of the first publication.
    In his production XY Beat grabbed René Pollesch 2010, the juxtaposition of gossip and opinion from Sexbeat on.
  12. With the publication Popocatepetl (Graz: Forum Stadtpark, 1989) Diederichsen published a "dub version" of the article. In 2000, an expanded version of the excerpts collection was published as 2,000 records by Hannibal Verlag. For the new edition Diedrich Diederichsen wrote a new foreword (“Before the end of music, at which everything becomes music”), in which the historicity of pop music, especially in the 1990s, is retrospectively reflected.
  13. The collaboration with the artist Renée Green also led to the publication of the theory reader Yo! Hermeneutics! Black cultural criticism. Pop, media, feminism .
  14. Diedrich Diederichsen acted as a reviewer for Ulf Poschardt's dissertation DJ Culture .
  15. Diedrich Diederichsen: “Neoliberal is cool. How a turning point is being talked about ", in: Süddeutsche Zeitung of October 21, 2005, online as " Propaganda of the contemporary: Itching of globalization "
  16. In the taz , Tobias Rapp summed up the debate about new bourgeoisie as a critique of succession and hegemony in the pop discourse: “ Let's not talk about Spex ”, in: taz of November 15, 2005.
  17. Diedrich Diederichsen: “ The license to zero position . Golden times for literature (XIII): German writers are again producing an irony that rests on a normality that nobody is ashamed of ”, in: taz of August 7, 2000, 404 lines, p. 13
  18. ↑ In 2009 Diedrich Diederichsen took a stand against the assumption that FDP supporters are widespread in the artist and cultural scene on the occasion of current article publications by Nils Minkmar , Gustav Seibt and Heinz Bude : “ The missing collector's item. Code name: Kulturelle Hegemonie "(column" More later "), in: taz of October 13, 2009, 149 lines, p. 17.
  19. On autologous blood doping cf. also Aram Lintzel: “ Die Kulturtechnik des Grölens ”, in: Literaturen July / August 2008, p. 70. In his review on Literaturkritik.de (“ The negative dialectic of pop ”), Bernd Blaschke gives individual aspects of autologous doping and presents them historical-philosophical orientation out (December 2008).
  20. The selection of texts for criticism of the eye got Jan-Frederik Bandel , publishing director and editor of Philo Fine Arts.
  21. , Kunsthaus Graz, June 6 to August 30, 2009.
    Michael Schmid from FM4 reports on the exhibition (June 7, 2009) under the title “ Pop has won himself to death ( Memento from February 2, 2017 in the Internet Archive )” .
  22. See Elke Buhr: “ Scissors, stone, paper. In Graz, Diedrich Diederichsen traces the relationship between pop and art ”, in: Monopol Juni 2009, p. 117
  23. ^ The Whole Earth - California and the Disappearance of the Outside , House of World Cultures, Berlin, April 26 to July 1, 2013
  24. ↑ Description of the exhibition, House of World Cultures [5]
  25. Press publications for The Whole Earth exhibition:
    Christiane Meixner: “ From the counterculture to the present ”, Tagesspiegel , April 24, 2013
    Oliver Kranz: “ The world in view ”, Deutschlandfunk , April 26, 2013
    Tilman Baumgärtel : “ Information would like to be freely available sein ", taz , April 26, 2013
    Detlef Borchers :" The Whole Earth - and computers in the middle ", Heise online , April 27, 2013
    Boris Pofalla:" ' Californian universalism cannot hide the place California ' ", interview with Diedrich Diederichsen, Monopol , April 27, 2013
    Jörg Häntzschel: “The Californian way of thinking. Self-optimization, admiration for technology and political utopias are the big issues of our time. But how did it come to this? ", In: Süddeutsche Zeitung of May 3, 2013, p. 11
  26. See lecture on the occasion of the exhibition "Martin Kippenberger: The Problem Perspective" at the Museum Of Contemporary Arts (MOCA), Los Angeles, September 21, 2008 [6]
  27. See “Special Thanks” in The Sopranos . Zurich: Diaphanes, 2012, p. 103
  28. Merz Academy, Stuttgart, January 24, 2010. Archive page of the Merz Academy with video recording of the lecture: [7]
  29. " Prince of the burdensome . The crazy, shrill, chaotic, anarchic, screamingly comical television series 30 Rock by the American comedy star Tina Fey is entering its third round ”, in: Die Zeit No. 28 of July 8, 2010, p. 49
  30. Reviews of The Sopranos book publication in connection with the “Booklet” series by diaphanes Verlag:
    Johannes Thumfart: “ Just one more episode, please! TV series are the media drug of our time. Why? A new, insightful series of non-fiction books tries to fathom this phenomenon ”, Zeit Online , May 30, 2012
    Thomas Andre:“ Successful series: From the screen to the bookshelf . The hymns of praise for American series such as Sopranos , The Wire and The West Wing result in a separate series of books published by Diaphanes ”, Hamburger Abendblatt from July 17, 2012
    Malte Hagener:“ Section review : US series ”, MEDIA Science No. 4 (2012) , Pp. 493-495
  31. A selection of publications on Über Pop-Musik :
    Eckhard Schumacher: “ Popkolumne. Institutionalization and Secession: Pop Music Theory ”, Merkur No. 780, Issue 5, 68th year, May 2014
    Ueli Bernays:“ The fan, the star and their poses ”, Neue Zürcher Zeitung , March 28, 2014
    Conversation with Andreas Fanizadeh , taz , Leipzig Book Fair 2014, March 13th, 2014 ( video )
    Julian Weber: “ Seeing Eye ”, taz , March 8th, 2014, p. 33
    Gerrit Bartels: “ What kind of guy is that? ", Tagesspiegel , March 3, 2014
    Tobias Rüther:" It's boring without theory . Conversation with Diedrich Diederichsen ”, Frankfurter Allgemeine Sonntagszeitung , March 2, 2014, p. 35
    Ulf Poschardt:“ The Professor is alright ”, Die Welt , March 2, 2014, p. 17
    Thomas Groß :“ Star cult of theory . The music critic Diedrich Diederichsen on the trail of pop ”, Die Zeit No. 10 of February 27, 2014
  32. Reviews on body hits :
    Ronald Düker: “ When everything roars and jumps ”, Die Zeit No. 12 of March 16, 2017, p. 44
    Florian Baranyi: “ Bet on the carrying capacity of terms ”, in: Falter 11/2017, p 35
    Dietmar Dath : “ Stepping into a bad conscience ”, Frankfurter Allgemeine Zeitung , March 31, 2017, p. 10
    Review by Till Huber in Arbitrium 2019, Volume 37, Issue 2, pages 266–271
  33. ^ " Critique of Art Criticism ( Memento from November 25, 2011 in the Internet Archive )", interview on the occasion of the Art Critics Award , November 20, 2011
  34. A critical examination of the thematic work of Diedrich Diederichsen can be found, for example, in the essay " Relaxed Stagnation - Diederichsen, Bolz, Kurz and the German Cultural Condition " (1999) by Geert Lovink . In 2012 Nadja Geer published an extensive examination of pop cultural intelligence, in which she deals in detail with Diedrich Diederichsen in a section: Sophistication - Between Thinking Style and Pose [Westwärts: Studies on Pop Culture 1]. Göttingen: Vandenhoeck & Ruprecht Unipress, 2012. 267 pp.
  35. Kid P .: "The truth about Hamburg!", In: Sounds 05/1982, p. 27
  36. http://www.discogs.com/Knarf-Rell%C3%B6m-DJ-Patex-Saalschutz-Little-Big-City-Technopunk/release/246819
  37. "39 questions: elms: mad fear, thieving joy ( memento of August 14, 2007 in the Internet Archive )", in: Netzeitung of June 7, 2006
  38. Jens Balzer : “ Who wants an undignified old woman? Pop and theater specialists met on the fifth and final 'Ersatzstadt' weekend at the Volksbühne. “In: Berliner Zeitung , May 24, 2005