A giant tampon on the forecourt. The writing "Baby better have my menstruation ..." on the facade. Films and a trailer by and with accomplices. Film portraits and a live feed as a tribute to collaboration itself. Anna Spanlang's light-footed and hip exhibition intervention is laid out as a fragmented montage in the Kunsthaus. Over it all hovers a great democratic task: the instruction for empathy.
It is strange that the word "menstruation" is still a difficult one. Not only in advertising, where until now mostly blue water flowed on pads. Recently, due to a hiccup while translating, a female athlete's "monthly cycle" became a cycling event. Reason enough to talk about it. That's what G-Udit/Judith Kratz and Anna Spanlang think, too, when they contemplate using an entire car as a (suction)strong tampon for their latest Green Scream episode. The Green Screams, which where a reaction to the Lockdowns, deal with the absurdity of the mediated self as much as male dominated connotations of the world. What takes form as a satirical show with invited guests, examines general values ruthlessly and mercilessly.
In the Kunsthaus, Anna Spanlang as last year's Diagonale winner in the category "Best Innovative Film" shows her collaborative work in film interspersed with props (the giant tampon stands in the forecourt) and films that overlay the existing setting. She directly addresses and involves the audience: From a live interaction with the Diagonale team featuring a cap by artist Jojo Gronostay, to a final Green Scream episode with G-Udit, to loops of highly regarded short films such as a film by Ukrainian Alisa Sizykh and a film portrait of a chimney sweep by Emma Braun. Spanlang builds a polyphonic whole. Immersion takes a sense of connectedness.
