Entwerter Oder

Entwerter Oder 100

Entwerter Oder

Entwerter Oder 100

Date

2016

Edition Size

100

Media

Digital print, Etching, Offset print, Silkscreen

Binding

Accordion, Box set, Loose pages, Perfect

Dimensions

11.8 × 8.25 × 2.4 in

Location

Berlin, Germany

$ 900.00

Out of Print


View Collectors

Walker Art Center

The 100th edition of one of the seminal German alternative art magazines which started in 1982 as an illegal samizdat publication in Dresden before quickly relocating to East Berlin, East Germany. Published by Uwe Warnke, Entwerter Oder has documented a vital part of the German underground art and design scene for over 30 years with many of its participants becoming acclaimed artists on an international level.

DOCUMENT / OR 100 The Five-Part Anniversary Edition
Contents of the Wooden Slipcase:
1) 117 page comprehensive bound edition #100 
2) Folder, prints of various participant illustrators with 1 etching, 1 linocut, 5 screen prints 
3) Folder with 2 partially reworked prints 
4) Issue with strategic papers of the MfS to E /O from the 1980′
5) Chronicle of the artistic background activities of the 1980s / Leporello

Content details:
3 drawings, 3 etchings, 1 linocut, 22 screen prints, 3 lithographs, 13 digital prints, 6 photographs, 4 collages, 7 works of this in A3 by Claus Bach, Kurt Buchwald, Frank , Marc Grieszer, Wolfgang Henne, Sabine Jahn, Birger Jesch, Juergen O. Olbrich, Peter Padubrin-Thomys, PLG, Karla Sachse, Klaus Staeck, Kai Selbar, Frank Siewert, Reiner Slotta, Hartmut Sörgel, Peter Thieme, Jacques Tuerverlin, Ottfried Zielke, Klaus Zylla 

texts by Florian Günther, Thomas Günther, D. Holland-Moritz, Lilly Jäckl, Alexander Krohn, Bert Papenfuß, Clemens Schittko, Stefan Schmitzer, Uwe Warnke, Peter Wawerzinek 

21 x 30 x 6 cm, printed and with Enamel-coated wooden case.

Table of Contents
DEFAULT / OR 100                        5 parts
1
Ottfried Zielke / 100 x / Drawing 
Editorial 
Uwe Warnke + Bernhard Freutel / The well-wishers …: / photographs 
Cornelia Groß / Untitled / Drawing / Untitled / Collage 
PLG / man pouring hundreds of collage / Flowers 
Bernhard Freutel / Congratulations / Photography 
Lilly Jäckl / sometimes / Text 
Kai Selbar / Dollars / Silkscreen 
Frank Eckhardt / Schlachthaus / Digital 
Prints Kai Selbar / Anagrams / Text 
Wolfgang Henne / Untitled / Screenprint 
Birger Jesch / When I left the beautiful Dresden in 1984, three years after Uwe Warnke / Text + Digitaldrucke
Peter Padubrin -Thomys / I am only wege dir HERE / etching + Only WHAT IS NOT IS POSSIBLE / Etching
Kurt Buchwald / Two Concepts / Photographs + Texts 
Gerhild Ebel / Panta Rhei / Digital Prints 
Peter Wawerzinek / How I got to literature … / Text 
Peter Thieme / UW 1992 / Photographs + UW 2016 / Photographs 
Frank Siewert / Ohne Titel / Lithography 
Alexander Krohn / Charms in Ahrenshoop / text 
Frank Diersch / we are not the same / silkscreen 
Frank Eckhardt / Academy / digital printing 
Thomas Günther / Bert Papenfuß and the entropy in the poetry or at the bottom of the real existence / text 
Klaus Staeck / Arts for All (1) / Digital Print + Art For All (2) / Digital 
Print Stefan Schmitzer / “DANCE OF THE INGREDIENTS” / Textcollage Kai Selber / Execution / Screen Printing
Claus Bach / From the haerts. Presents for Buchenwald / Text + Photographs 
Jacques Tueverlin / AN ERROR / Photography + Clubraum / Photography 
Jürgen O. Olbrich / “Two Fells – A Selection” / Finds + Collage 
D. Holland-Moritz / Running On Time – The Diary Titles (2) / text 
Frank Eckhardt / Parliament / digital printing 
Bert Papenfuß / Bearskin / text + the contemplative is odious … / text + goose meat / text + “In every headline all salts are the same,” / text + Vorwitz / text 
Reiner Slotta / the Days Of This Society Are Numbered / Screenprint 
Sabine Jahn / Untitled / Text + Screenprints 
Kai Selbar / nowhere / Screenprint 
Clemens Schittko / All about tits, cocks, pussies and asses / text
Wolfgang Henne / Untitled / Silkscreen 
Florian Günther / The price / text + One of sooner / Text + Das wars / Text + Wrong impression / Text + Waiting for death / Text 
Hartmut Sörgel / Dot by dot Line by line / offset lithography 
Karla Sachse / Reminiscences / Collage 
Thomas Günther / Tangier disappears dizzy & beyond nostalgia / Text 
PLG / 100 strokes / punishment / drawing

Supplements: Claus Bach, Birger Jesch, Juergen O. Olbrich, Ottfried Zielke
Cover: Kai Selbar

2
Portfolio: Two printed products
Ottfried Zielke Laut, colorful and evil. Ottfried Zielke to the Achzigsten / catalog 
Marc Gröszer self – proponent of the late – romantic bodywork / workbook

3
Map: The graphic of the draftsmen
Klaus Zylla Congratulations / Screenprint 
Wolfgang Henne Untitled / Linocut 
Peter Padubrin-Thomys FUER E / O 100 / Etching 
Frank Dierschhundert I / Screenprint 
Frank Dierschhundert II / Screenprint 
Marc Gröszer Gewölle 1 / Screenprint 
Marc Gröszergewölle 2 / Siebdruck

4
In the files of the MfS (a small selection) copies of reports and so-called strategy papers from the 1980s

5
Leporello: ABSAGE ANSAGE System-independent artistic positions in the last years of the GDR / Chronology 1973 – 1989 
(Plüschow Castle – Mecklenburgisches Künstlerhaus, 2016)

ENTWERTER/ODER was the first original-graphic artists journal in East Germany. Today ENTWERTER/ODER is the one and only existent original-graphic artists journal of the first generation. ENTWERTER/ODER is a legend.

ENTWERTER/ODER (E/O) was founded 1982 by Uwe Warnke and Siegmar Körner in East Berlin. We looked for our own place for literature and art, dedicated to a young generation of artists and poets. This place was independent of official state organizations, independent of promotions, and of state influences.
Private publishing was illegal[1]. All that we made was out of controlling. ENTWERTER/ODER to publish was an political action . The secret police collected informations about the whole movement of illegal publishing in GDR and so about us as well.
Many young artists, writers and poets participated in our „journal“. We reproduced the works without the possibility of copy-shops (because there were no copy-shops in East Berlin in the 1980s)[2]. The authors used their typewriters to reproduce their texts and made copies with carbon paper. Every artist printed the graphic by himself (silkscreen, etching, linocut, woodcut) and sent it to me; as well did the photographers a.s.o.. I collected the material until I had enough for a new release. Every artist got back one complete exemplar.
The edition grew from 4 to 33 copies over the years.
Today ENTWERTER/ODER offers a field for experiment in art and literature especially visual poetry. Every year I publish 1 or 2 issues and 1 special number.
Since 1982 I have been published 100 issues and 28 special-numbers. We edited the number 1 (E/O 1 Box) as a facsimile edition 2015. In 2016 we released the number 100. In 2017 we are preparing the exhibition – Entwerter/Oder 100 at the Art Library Berlin.

[1]The East German official publishing houses, art-unions a.s.o. were controlled by parties or mass organisations.
[2]The printers would never have printed our things. Printing was only possible with official authorization, otherwise, it was prohibited – the owner and worker could lose their workshops or jobs. That´s one of the reasons that we worked only with original graphic.

Editorial

The issue 100! In Berlin (I had nearly written East Berlin – by the way, this would describe the things more accuratly), it was recently rumored, I’m working on the issue one million of ENTWERTER/ODER. No, colleagues, it is number 100. And we see: there are one hundred copies.

It all began 34 years ago, 1982 in East Berlin. Siegmar Körner and Uwe Warnke founded a convolute, a text collection, a notebook, without being aware in the slightest of what they had done, which effects this would have and what even it was in the proper sense. Today we know it was a periodical. It was an original-graphical art journal in a small edition. It was for many an experimental field with great consequences. The first appearance of young artists, poets and writers began often in the underground. In the middle of the 1980s ENTWERTER/ODER specialized in concrete poetry and visual poetry; this called reception as well as rejection, depending, of course, in which environment one moved.

It was not sure, that ENTWERTER/ODER was still needed after 1990 (the reunion of Germany). It was mainly the artists and poets with their encouragement and their question why shouldn’t ENTWERTER/ODER keep going. It was soon clear, with inevitable acknowledgement of the new social conditions, that places for artistic experiments would continue to be needed. Well then! In 1991 our project was received an award[1] in recognition of our achievements; this finished the discussion and we continued.

The first years after 1990, the publication was accompanied by exhibitions; we explored current topics in thematic issues; special editions appeared came more frequently. These played an exception to the rule. Over a long period, routine could not always be avoided. It was interrupted through formal challenges, thematic rigor, discovery of new, young artists and editorial concerns.

ENTWERTER/ODER remained a collectable object. This has also helped to survive.

I had been avoiding the approaching publication of this issue for a long time. There was always the feeling, that something would come to an end. As an anniversary (number 100), this might force the issue? But why, actually?

In the preparation work, I sought for promotions, had numerous conversations, and took advice. The result was sobering: nothing. All funding remained.

Finally I sent invitations for the participation on this issue. It should be more comprehensive and opulent and fullfill the expectations of an anniversary. Many artists and authors responded to this, even asked to participate and made promises.

Besides the outstanding individual artworks, which are available to you here – it was for me as a publisher great to notice the willingness, under these conditions to take part on this issue. The participants spent time, work and money. The engagement was great.

Over time it crystallized out that complexity and multiple part would determine this issue; a book, a graphic portfolio, selection of files from the state police, a chronicle a.s.o.. This could make it remain vital. Do the ideas carry on? Would these artworks speak to us?

It seemed me to be useful, to publish here strategical reports of the state police MfS[2]. I received these papers only after a renewed application for search and inspection in the files of the MfS from the 1980s, which had been sent to me only in the last few years. Now reprinted as a small extra booklet it stands in a fine contradiction with the proclaimed strategies there. Nothing was destroyed to the contrary. The wonderfully of appropriate cover material with Braille inscription came from Jürgen O. Olbrich from Kassel.

One year before Hartmut Sörgel (1940-2015) died – a visual poet, draftsman, author. In many issues of ENTWERTER/ODER can be found artworks by him. It was a  stroke of luck, that Dagmar Sörgel, his widow, gave me a convolute of art prints for E/O 100, found on the top of a cabinet. These prints were produced by Arnoldi[3] in 1995.

In August 2016 Ottfried Zielke suffer his 4th stroke. He was a longtime friend, an outstanding book artist, and draftsman; he was an active participant, contributing wonderful artworks for E/O. You will find his last drawing in this issue. This is his last performance. He was not able to hold this issue in his hands. Ottfried Zielke died on September, the 17th, 2016 at the age of 80 years. We will all miss him.

In spring 2016, he made three „Braque“ guitars using painted wood and cardboard. I, supported by Bernhard Freutel, took photos of friends and colleagues holding these guitars: Die Gratulanten / The congratulates.

There are many good reasons to express my thanks. Many longtime friends in Berlin, friends of the book, masters of their subject have supported me with advice and deeds. The silkscreen printer Reiner Slotta printed the silkscreen prints for the graphic portfolio, built the wood slipcases, helped me with many technical solutions. In this way he became part of this project. The bookbinder Markus Rottmann advised me manifold and built the portfolio for the booklet; the book printer, typographer, and designer Harald Weller printed the title on the graphic portfolio; the artist Kai Selbar gave me the possibility to use a copy machine free of charge; he also provided the endpapers; the bookbinder Ralf Liersch gave me the cardboard for the graphic portfolio; I was able to prepare these with his support in his workshop; the artist Udo Rathke (Castle Plüschow) supported my idea to rework the chronicle of the underground activities in the 1980s, ABSAGE/ANSAGE  – cancellation /ANNOUNCEMENT. He reprinted this especially for E/O 100; the director of the Klingspor Museums Offenbach, Stefan Soltek, gave me 100 catalogs of the Ottfried-Zielke-exhibition 2016; the bookbinder Hinrich Peters bound ENTWERTER/ODER as always since 1984 (!), and in New York Marshall Weber took over gladly the distribution for this anniversary issue in the USA.

How will things continue? There will be several exhibitions with E/O 100 in Berlin and Dresden. And otherwise? No idea. Something will happen. We’ll see.

Uwe Warnke, Berlin, September 2016

[1]V.O. Stomps-Award for a publishing of ENTWERTER/ODER

[2]The Ministry for State Security of the GDR, 1950 – 1990

[3]Offset lithograph und art printer in Müggelheim near Berlin