The dream: neo-Nazis no longer go on a pilgrimage to Hitler’s birthplace. Is it a realistic dream? The project enforces this reality. Because in the Testament, they are so reviled by their master that they no longer want to make the pilgrimage. They are disenchanted. They are shown the limits of history. So they no longer come here. And even more: in the birthplace, their shit master kills himself in the most perverse way. They see the embarrassing suicide and are disillusioned by his fall. They see the history and their and our heritage. They no longer want to come here. And even more: they themselves swing the club and see the severity of it. This club is unbearable for them. The weight overwhelms them. So they see and are disillusioned. And never come back to this place.
CV
Lydia Haider
Writer, lives in Vienna. Also: chief preacher of the Gebenedeit music band. Writes and performs for the Volksbühne Berlin, among others. Most recently published: Oh Vienna, behold the sow (your country) in the Cologne parasitenpresse.
Marlene Hauser
Actress, lives in Vienna. Studied at the Max Reinhardt Seminar. She works freelance in theatre, film and television. Her most recent projects include the solo evening ‘Die Party’ by Ulrike Haidacher at the Schauspielhaus Graz and the cinema film ‘Sehnsucht in Sangerhausen’ by Julian Radlmeier.
Vito Baumüller
is a visual artist specialising in performance and sculpture. Apart from that
He is also an actor and writer. Among the locations where Vito
Baumüller has shown his perfidious suicide apéritifs, as well as his lovingly designed replicas of tools, include the Albertina Modern, the Marxhalle art fair, the Vienna Parallel and the Volksbühne Pavilion in Berlin. His work sees itself as a childishly brutal manifestation of his daydreams; snarling and cherishing peace.
Anna Spanlang
studied video/video installation with Dorit Margreiter and Constanze Ruhm at the Academy of Fine Arts Vienna and at CENART in Mexico City. ‘Spanlang’s works are in search of a poetics of the everyday and at the same time emphasise the political dimension of an everyday life in which togetherness, friendship and feminism are actually lived and not just discussed. Their films are created through the montage and thus reinterpretation of originally autobiographical video material – characterised by sharp wit and full of empathy.’ (Anne Faucheret). Her moving image works are screened at film festivals and have recently been shown at Belvedere 21, Künstlerhaus Wien, Kunsthaus Graz, Kunsthalle Wien and Galerie Krinzinger Schottenfeld.