Christoph Schlingensiefs Container. Zwischen Realitätsverschiebung und politischer Aktion
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Studienarbeit aus dem Jahr 2017 im Fachbereich Kunst - Computerkunst, Medienkunst, Note: 2,3, Carl von Ossietzky Universität Oldenburg (Institut für Kunst und visuelle Kultur), Sprache: Deutsch, Abstract: Diese Arbeit setzt sich mit dieser vom 09.-16.06.2000 durchgeführten Aktion und der daraus entstandenen Dokumentation "Ausländer raus! Schlingensiefs Container" von Paul Poet, die im Jahr 2002 veröffentlicht wurde, auseinander. Sie wird vor allem unter dem Aspekt des Politischen analysiert, und es soll der Frage nachgegangen werden, inwiefern sie die Betroffenen in ein "Realitätsdilemma" stürzte und ob die Aktion an sich einen politischen Effekt erzielte, demnach, in Bezug auf die Beuys sche Definition, "die Welt veränderte". Greift man die Beuys'sche Definition des erweiterten Kunstbegriffs und der Sozialen Plastik auf, ist jeder Mensch ein Künstler, weil in seinem Inneren ein Potenzial von Kreativität und individueller Gestaltungskraft schlummert, über das er verfügen kann und somit die Fähigkeit besitzt, Ungewöhnliches zu kreieren. Die Soziale Plastik ist folglich ein Kunstkonzept, welches menschliches Handeln miteinschlie t und das die Strukturierung und Formung der Gesellschaft zum Ziel hat. Jedes kreative Handeln, das dahingehend wirkt, wird - heutzutage insbesondere unter Einbeziehung der Medien - zur künstlerischen Praxis. Nach Beuys sei es die Aufgabe der Kunst, diesen Prozess in den Fokus der Aufmerksamkeit zu rücken und damit auch zu zeigen, dass jeder einzelne durch sein Sprechen und Denken zur Veränderung der Welt beitragen oder dem Bestehenden zustimmen könne. Auch Christoph Schlingensiefs Filme, Happenings und Objekte erheben sich über den unmittelbar sinnlich wahrnehmbaren Gegenstand hinaus. Er arbeitete stets am "Puls der politischen, gesellschaftlichen und medialen Entwicklungen", wodurch seine Projekte und Aktionen häufig politisch motiviert, teils provokativ zum Einsatz kamen. Die Hinterfragung von konventionellen Wahrnehmungsmustern, dem Sp
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