已故的克里斯托夫·申林格西夫是德国艺术界的伟大挑衅者之一。他的B级恐怖片美学至今还能否震撼我们，让我们重新思考媒体权力、殖民主义和极右翼？
The late Christoph Schlingensief was one of German art’s great provocateurs. Can his B-Movie horror aesthetics still shock us into thinking anew about media power, colonialism, and the far right?
克里斯托夫·申林格西夫当然懂得如何挑衅。《星期日快报》在2006年《卡普罗之城》于柏林人民剧院首演后，刊出标题“德国剧目将女王演绎成纳粹引发愤怒”。该剧借鉴美国行为艺术家艾伦·卡普罗的“发生艺术”，将焦点对准威尔士王妃戴安娜之死。在一幕中，时任女王行纳粹礼致意。另一幕重演导致戴安娜致命车祸的狗仔队追逐。
Christoph Schlingensief certainly knew how to provoke. “Fury at German play that shows Queen as a Nazi,” read the Sunday Express’s headline after Kaprow City first premiered at Berlin’s Volksbühne theatre in 2006. Drawing on the happenings of US performance artist Allan Kaprow, the play turned its attention to Diana, Princess of Wales’s death. In one scene, the then queen performs a Hitler salute. Another re-enacts the paparazzi chase that led to Diana’s fatal crash.
戴安娜出现在床上，身旁躺着两名唐氏综合征男子；卡米拉被泼洒动物血液。申林格西夫坚称该作品并非旨在挑衅，而是对戴安娜如何成为现代偶像的调查。但他的艺术以激起愤怒为生，揭露了那些歌颂偶像却将其生活作为娱乐消费的社会的荒谬性。
Diana appears in bed beside two men with Down’s syndrome; and Camilla is pelted with animal blood. Schlingensief insisted the work was not meant as provocation but as an investigation into how Diana turned into a modern icon. But his art thrived on outrage, exposing the absurdity of societies that glorify their idols while consuming their lives as entertainment.
《卡普罗之城》是柏林新展览《不再是我的问题，自己处理你们的烂摊子吧》的核心，该展重访这位艺术家的遗产。在格罗皮乌斯美术馆宏伟的新文艺复兴风格中庭，参观者看到他称为“动画仪”的旋转木马式舞台的残骸。如今审视这一装置，仿佛窥见申林格西夫的内心：童年记忆、暴力幻想与皇室魅力拼贴成一团混乱。
Kaprow City is at the heart of a new Berlin show – It’s Not My Problem Anymore, Deal With Your Own Shit – that revisits the artist’s legacy. In the Gropius Bau’s grand neo-Renaissance atrium, visitors encounter remnants of the carousel-like rotating stage he called the “animatograph”. Looking at this installation today feels like a glimpse into Schlingensief’s mind: a messy collage of childhood memories, violent fantasies and royal glamour.
