Stötzer began taking photos of her body, and later those of others, after her release from the infamous Hoheneck Women’s Prison. She had spent seven months there in 1977 after signing and distributing the infamous open letter in support of Wolf Biermann, the dissident singer-songwriter. Upon her release, she found that she could not talk about her experience, but that it returned to her in mental images. Unlike other former political prisoners who turned their main focus of activity to politics, Stötzer found herself pushed toward poetry and towards art. Her work on her trauma and away from it, began in this field between embodied experience (“sensing”) and communicability. Exposing herself “again and again to the horror and the joy of the existential other”[1], she knits the act of aesthetic expression together with a re-constitution of the self in its relation to others and the world.

This desire to organize these confrontations with an other or others into collective form became increasingly pressing and central for Stötzer. She found that the reworking of her self-hood – and of her being in the world – after its violent interruption during her imprisonment had to be collective, that it could not be achieved alone. She developed her remarkable collaborative practice from here. She began to recruit women in the streets of her hometown Erfurt for her work.

“I began looking for women who might want to work with me […] I began an exchange with these women […]I wanted their bodies but could not pay them, but in taking their bodies I could give them their bodies back as a experience, as feeling, as sensing, as the crossing of a threshold of their own unanswered questions about their female sex.”

In 1984 Stötzer made a photo series of a young person, ostensibly a man*, posing for the camera in drag. The model seems to have opened up to her completely in front of the camera, exploring their gender in a way that is playful, vulnerable, and tender. Stötzer identified with her model’s departure from socialist norms and standards – of gender in this case. “Mein Janusgesicht” [my Janus-face] she wrote on the back of one of the prints. This comment later proved prescient in other ways: the model had been informing on her for the Stasi (very likely pressured because of their supposedly “deviant” sexuality). The series exemplifies Stötzer’s ability to empathize with her photographic counterpart and demonstrates her distinctive practice of inviting her models as creative collaborators.

For many of her generation, to escape from the violence and the ideological encroachment of the state had meant to withdraw into the hermetic, homogeneous circles of the “underground” and into a mythical or “existential” art. The individual artist body, conceived of as male, was not only the source of (individual) artistic authorship, but also a place of safety and purity – vis à vis the ideological encroachment of the state. For Stötzer, by contrast, to emancipate herself from an experience of state violence, meant not to seek shelter from the concreteness of the world in a supposedly liberated, heroic individual body, but to become collective, to open herself more intensely to the lives and experiences of others.

In Veitstanz/ Veixtanz, a film made by Stötzer in 1988, a number of scenes are filmed in the immediacy of the recognizable landscapes of the late East German everyday, setting off their lines of flight from there: a cast of characters one would find in any East German city of the late 1980s – a young punk, a middle class person (maybe an office clerk or a school teacher), a footballer with a mullet, two teenagers with perms, earrings, and stonewashed jeans, a professional dancer, a peacenik are dancing themselves into states of ecstasy on a roof, in a backyard, in an abandoned building, on the street, in front of a garage, in the hills, in the sports ground, by the river, in a garden, on a playground, in a cave, in the park, on the pavement, in the light, and in the dark. The here and now is indexed in the clothes, hairstyles, mannerisms of this cast of characters, that are both random, and exemplary for the late GDR. A simple instruction – to dance oneself into ecstasy – first intensifies this present in these bodies’ particular ways of moving, then lets it spin away.

Stötzer’s practice is powerfully liberating in works like this – where it departs not only from the configurations of gender, or collectivity of the socialist state, but from the close confines of the individualism and escapism of some of her underground peers. Where it jumps into an immersive questioning of the world outside, through which her collective experimentations unfolded their very own forms of being in and towards the world. Stötzer’s careful nurturing of the sociabilities that fostered and were enabled by her work, contributes to the unique and enduring, political and aesthetic power of her work.

[1] Karin Fritzsche and Claus Löser, Gegenbilder. Filmische Subversion in der DDR 1976 – 1989. Texte, Bilder, Daten (Berlin: Wolf, Gerhard, 1996), 78.

 

Gabriele Stötzer (*1953 in Emleben/Thuringia) is a visual artist and writer, working in film and performance. Largely self-taught, she developed her unique collaborative and feminist films and (filmed) performances in the aftermath and response to her imprisonment in the late 1970s. Her work has recently begun getting long overdue attention in Germany and beyond.