Laurence A. Rickels

Laurence Rickels
Full name Laurence Rickels
Born December 2, 1954 (1954-12-02) (age 57)
Cherokee, Iowa, USA
Era 20th- / 21st-century philosophy
Region Western Philosophy
School Psychoanalysis · Frankfurt School · Deconstruction
Main interests German Literature · Science Fiction · Nazi Germany · Mass media · Cultural Studies · Media Theory · Vampirism · Occult · Mourning
Website http://www.egs.edu/faculty/laurence-arthur-rickels/biography/

Laurence Arthur Rickels is an American literary and media theorist, whose most significant works have continued the Frankfurt School's efforts to apply psychoanalytic insights to analysis and criticism of modern mass media culture. Some of his best known works include The Case of California, The Vampire Lectures, and the three volume work Nazi Psychoanalysis. After 30 years at the University of California at Santa Barbara, Rickels followed the Ruf ("call" or appointment) as successor to Klaus Theweleit in April 2011 to the Academy of Fine Arts, Karlsruhe, where he is currently professor of Art and Theory. In the summers, Rickels serves as the Sigmund Freud Professor of Media and Philosophy at the European Graduate School in Saas-Fee, Switzerland.[1]

Contents

Biography

Laurence Rickels was born in Cherokee, Iowa on December 2, 1954. He currently resides and works in Karlsruhe and Berlin.

Academic Life

While his reputation and career seem to traverse a diverse group of interests and institutions, there is at the same time a “continuity shot” to follow throughout in his commitment to psychoanalysis and problems of mourning.

“Rickels’ work, it is worth pointing out, is reminiscent of Harold Bloom’s The Anxiety of Influence, both in its command of the contributions of Freud’s early followers to classical psychoanalysis and in its desire to challenge literary studies with a mode of reading that exceeds the boundaries of text-immanent criticism. Rickels is unlike Bloom, however, in his insistence that the psychoanalysis of literature must go beyond the notions of patricidal writing that followed a generation of psychoanalysts’ reduction of Freud’s thought to the Oedipal scenario” (Modern Language Notes[2] 112, 1997: 487).

Rickels’s research has been supported by the Alexander von Humboldt Foundation, the Austrian Government, the Center for German and European Studies (UC Berkeley), the German Academic Exchange Service (DAAD), the Interdisciplinary Humanities Center (UC Santa Barbara)[1], and the Zentrum für Literatur- und Kulturforschung Berlin [2], among other institutions, agencies, and offices. At New York University he presented the 2007 Otto and Ilse Mainzer Lecture and, in 2011, en route to his new position in Germany, the Undergraduate Major’s Choice Lecture of the Comparative Literature Department.

Education

At The Lawrenceville School, he pursued an independent study focusing on the pathogenic influence of prevented mourning on the survivors of Nazi German concentration camps, for which he received the Sterling Morton Prize, 2nd Place in 1972.

Laurence Rickels received his B.A. in English Literature from the University of Pennsylvania in 1975. While enrolled at Penn he spent a year abroad at the Free University of Berlin, which he extended by an additional semester at the end of which (in 1973) he passed the Berlin institution's entry examination for graduate study in German literature.

He earned his Ph.D. in German Literature at Princeton University in 1980.

In the 1990s Rickels earned a Masters in Clinical Psychology at Antioch University of Southern California and trained and interned as a psychotherapist in Santa Barbara under the supervision of psychoanalyst Lawton Smith.

Works

Books

Author

  • Geprüfte Seelen (Vienna: Passagen Verlag, 2011)
  • I Think I Am: Philip K. Dick (Minneapolis: University of Minnesota Press, 2010)
  • 뱀파이어 강의 (Seoul: Rubybox Publisher, 2009)
  • The Devil Notebooks (Minneapolis: University of Minnesota Press, 2008)
  • Ulrike Ottinger: The Autobiography of Art Cinema (Minneapolis: University of Minnesota Press, 2008)
  • Ulrike Ottinger. Eine Autobiografie des Kinos (Berlin: b_books, 2007)
  • Vampirismus Vorlesungen (Berlin: Brinkmann & Bose, 2007)
  • Nazi Psychoanalysis, 3 Volumes: Only Psychoanalysis Won the War, Crypto-Fetishism, Psy-Fi (Minneapolis: University of Minnesota Press, 2002)
  • The Vampire Lectures (Minneapolis: University of Minnesota Press, 1999)
  • The Case of California (Baltimore: The Johns Hopkins University Press, 1991) *Reprinted with University of Minnesota Press, 2001.
  • Der unbetrauerbare Tod (Vienna: Edition Passagen, 1989)
  • Aberrations of Mourning: Writing on German Crypts (Detroit: Wayne State University Press, 1988)

Editor

  • Special Issue Editor – “On the Genealogy of Media” (Discourse 31: 1 & 2, 2009)
  • Co-editor (with Thomas Kniesche) - Die Kindheit überleben. Festschrift zu Ehren von Ursula Mahlendorf (Würzburg: Königshausen & Neumann, 2004)
  • Acting Out in Groups. (Minneapolis: University of Minnesota Press, 1999)
  • Co-editor (with Ursula Mahlendorf) - Poetry Poetics Translation: Festschrift in Honor of Richard Exner (Würzburg: Königshausen & Neumann, 1994)
  • Gottfried Keller, Jugenddramen (Zurich: Ammann Verlag, 1990)
  • Looking After Nietzsche (Albany: State University of New York Press, 1990)
  • Special Issue Editor - “Voice Over: On Technology” (SubStance 61, 1990)

Fictional Work

  • SPOUT, a short vampire film directed by Alex Munoz and starring Rena Owen, was based on Rickels's feature screenplay.[3]

Selected Articles

  • “The Unmournable Animal Death” (theory@buffalo 15, 2011)
  • “Economies of Leave-Taking in Mark Z. Danielewski’s House of Leaves.” Twenty-First-Century Gothic. Ed. Danel Olson (Scarecrow, 2011)
  • “Bride of the Un-Dad” (artUS 30, 2010-11)
  • “Fertigungslinie. Laurence A. Rickels über Eva Hesse im Hammer Museum, Los Angeles” / „Assembly Line. Laurence A. Rickels on Eva Hesse at Hammer Museum, Los Angeles“ (Texte zur Kunst, December 2010)
  • “The Untied: On Ulrike Ottinger’s The Korean Wedding Chest” (artUS 29, 2010)
  • “Alone: Sorcery vs. Idealization at Art Center” (artUS 28, 2010)
  • “Invisible Adversaries and Daniel Paul Schreber.” Richardson A4 (2010).
  • “Veil of Tears.” What Does the Veil Know? Ed. Eva Meyer and Vivian Liska (Edition Voldemeer: Zurich, 2009)
  • “Take Me to Your Reader.” Reading Ronell. (Champaign: University of Illinois Press, 2009)
  • “By Mourning’s Light. Laurence A. Rickels on True Blood” (Artforum, October 2009)
  • “Einsame Gespenster: Zu Sinn und Richtung des ‘Reenactment.’” / “Lonely Ghosts: On the Sense and Direction of Reenactment” (Texte zur Kunst, December 2009)
  • “Vom Trauern um unsere Haustiere.” / “Pet Grief.” Diana Thater (gorillagorillagorilla Kunsthaus Graz, 2009)
  • “Who’s Dying, Who’s Watching Now?” (artUS 27, 2009)
  • “Half Life” (Discourse 31: 1&2, 2009)
  • "Wishful Needs." (EXPENDITURE, Busan Biennial, 2008)
  • “Politics and Psychosis” (The Germanic Review 83: 1, Winter 2008)
  • "Sounds of Satan." The Dreams of Interpretation: A Century down the Royal Road. Ed. Catherine Liu, John Mowitt, Thomas Pepper, and Jakki Spicer. (Minneapolis: University of Minnesota Press, 2007)
  • "Dem Schleier gleich." Äther: Ein Medium der Moderne. Ed. Albert Kümmel-Schnur and Jens Schröter (Transcript, 2007)
  • “Endopsychic Allegories” (Postmodern Culture 18:1, September 2007)
  • “Second Death.” between two deaths. Ed. Ellen Blumenstein and Felix Ensslin. (Stuttgart: Hatje Cantz, 2007)
  • “Going Ape: On Ulrike Ottinger’s Prater” (artUS 19, 2007)
  • “Katy Crowe.” (artUS 16, 2007)
  • “The Body of His Work” / ”Il corporo della sua opera.” Meneghetti. Opere/Works 2000-2006. Ed. Achille Bonito Oliva. (Electa, 2006), 51-59.
  • “Devil Father Mine.” Lust for Life. On the Writings of Kathy Acker. Ed. Amy Scholder, Carla Harryman, and Avital Ronell (Verso Press, 2006)
  • “Zwölf Filme.” Ulrike Ottinger. Bildarchiv (Verlag für moderne Kunst Nürnberg, 2006)
  • “Twelve Films.” Ulrike Ottinger. Image Archive (Verlag für moderne Kunst Nürnberg, 2006)
  • “Totem Taboo” (artUS 11, 2006)
  • “The Case of Oscar Wilde.” Le Voyage interieur. Paris-London, ed. Alex Farquharson and Alexis Vaillant, Espace EDF Electra (exhibition catalogue, 2005)
  • “Alle-Gory.” Alle-Gory, Mandarin Gallery, 2005
  • “Delay in the Machine Age. Part I.” (artUS 10, 2005)
  • “Sue de Beer: Visitation Rites.” (artUS 9, 2005)
  • “David Askevold.” (artUS 9, 2005)
  • “The Portrait Under Surveillance.” (artUS 5/6, 2005)
  • “Haunts of Assimilation.” David Deutsch. Photographs/Paintings. 2 volumes. (Twin Palms Publishers, 2005)
  • “Das Hund.” Flashforward. Film by Eva Meyer and Eran Schaerf, 2004. Seven artists and writers (including Elfriede Jelinek) contributed either a text (and reading) or a performance as quilting points within the film.
  • “Brad Spence” (artUS 4, 2004)
  • “Metropolis, California” (artUS 3, 2004)
  • “Alexis Smith” (artUS 2, 2004)
  • “Memory and Disappearance: Recent Thai Art” (artUS 1, 2004)
  • “Satan and Golem, inc.” (parallax 30, 2004)
  • “My Last Interview with Ulrike Ottinger: on Southeast Passage and Beyond.” Subtitles: On the Foreignness of Film, ed. Atom Egoyan and Ian Balfour (The MIT Press, 2004)
  • “Eran Schaerf: All of the Above.” The Promise The Land. Jewish-Israeli Artists in Relation to Politics and Society. (O. K Centrum für Gegenwartskunst Oberösterreich. Folio, 2004)
  • “Gross und Gross, Inkorporiert.” Die Gesetze des Vaters: Hans Gross, Otto Gross, Sigmund Freud, Franz Kafka, ed. Gerhard Dienes and Ralf Rother (Böhlau Verlag, 2003)
  • “Many Eternal Returns.” Cultural Shift Hatter. Cody Choi 1986-2003 (Seoul: Paradise, 2003)
  • “Lyle Ashton Harris” (artUS Inaugural Issue, 2003)
  • “Tom Allen. Becoming Ruin” (art / text 78, 2002)
  • “Middlebrowbeat.” Literary Paternity. Ed. Gerhard Richter (University of North Carolina Press, 2002)
  • “Marlene McCarty.” (art / text 77, 2002)
  • “North by North by Laurence Rickels. On John Boskovich.” (art / text 77, 2002)
  • “Suicitation: Benjamin and Freud.” Benjamin’s Ghosts. Ed. Gerhard Richter (Stanford University Press, 2002)
  • “Recognition Values: Seeing The Sixth Sense Again for the First Time” (Other Voices 2, March 2002)
  • “Theory on TV: ‘After Thoughts.’” Religion and Media. Ed. Hent De Vries and Samuel Weber (Stanford University Press, 2001)
  • “Stephanie Taylor” (art / text 74, 2001)
  • “Floyd Claypool” (art / text 73, 2001)
  • “Dean Sameshima: Secret Agency” (art / text 72, 2001)
  • “Ulrike Ottinger: Glass Walls” (art / text 71, 2000)
  • “The Emperor’s New Closure” (art / text 70, 2000)
  • “Larry Johnson” (art / text 69, 2000)
  • “Katy Schimert: Blind Spot and Insight” (art / text 68, 2000)
  • “Resistance in Theory.” Material Events. Paul de Man and the Afterlife of Theory. Ed. Tom Cohen, Barbara Cohen, J. Hillis Miller, and Andrzej Warminski. (Minneapolis: University of Minnesota Press, 2000)
  • “Bridge Isn’t Falling Down.” Laura London: After School Special (Los Angeles: works on paper, inc., 2000)
  • “Midlife Criticism and the Teen Age.” Förtechning över Swedish Department (Riksustall-Ningar / Swedish Traveling Exhibitions, 2000)
  • “Just a Test.” Mike Kelley (Magasin: Centre National d’Art Contemporain, 1999)
  • “American Psychos: The End of Art Cinema in the ‘90s.” (art / text 67, 1999)
  • “Art/Journalism.” X-TRA, vol. II, no. 4 (Summer 1999).
  • “Toto-lization.” Jeremy Blake. One Hit Wonder (Los Angeles: works on paper, inc., 1999)
  • “Mine.” Terminals. Ed. Connie Samaras and Victoria Vesna (Delta Graphics, 1999)
  • “Matthew Antezzo.” Nach-Bild, vol. 25 (1999).
  • “T.J. Wilcox. The Loss Generation” (art / text 64, 1999)
  • “Scream IV.” Space, Site, and Intervention: Issues in Installation and Site-Specific Art. Ed. Erika Suderburg (Minneapolis: University of Minnesota Press, 1999)
  • “Kim Yasuda: The Canyon That Took the Place of a Couch.” Art in General (1999).
  • “Giving Up the Ghost of a Fetish: Between the Couples Theory of Marxo-Freudianism and Nazi Psychoanalysis.” (The South Atlantic Quarterly 97:2, 1998)
  • “Phantoms of Opera” (art / text 63, 1998)
  • “Die Prüfung Unica Zürns.” Unica Zürn. Bilder 1953–1970, 1998: 193-98.
  • “Bite Sighs. A Eulogy for Martin Kippenberger.” Martin Kippenberger. Hotel Drawings. 1988 - 1990 (Los Angeles: works on paper, inc., 1998)
  • “Landscape from LA.” (Spring Journal 1:1, 1998)
  • “Cryptology.” Hi-Fives: A Trip to Semiotics. Ed. Roberta Kevelson. (New York, 1998: 191-204)
  • “Already Given at the Office: On Techno Feminism” (parallax 5, 1997)
  • “Tot’s Tomb” (aRude 3:1, Spring 1997)
  • “Silent Reading.” Larry Johnson, ed. Scott Watson. Vancouver: Morris and Helen Belkin Art Gallery, The University of British Columbia, 1996. 25-32.
  • “Digging Psychoanalysis.” Freud and the Passions, ed. John O’Neill (University Park: The Pennsylvania State University Press, 1996)
  • “Wall-Eyed Ghosts.” Lari Pittman Drawings, ed. Elizabeth A. Brown (Seattle/London: University of Washington, 1996)
  • “Psy Fi Explorations of Out Space: On Werther’s Special Effects.” Outing Goethe & His Age, ed. Alice A. Kuzniar (Stanford: Stanford University Press, 1996)
  • “Theory on TV: Gadget Goes to Florida - Laurence A. Rickels Talks with Gregory Ulmer" (Artforum, January 1996)
  • “Dragula” (aRude 1:2, Fall 1995)
  • “Theory on TV: Making a Killing - Laurence A. Rickels Talks with Michel Serres” (Artforum, April 1995)
  • “Psy Fi.” Alphabet City 4/5 (1995): 96-102.
  • “Heil Homosexuality” (GLQ A Journal of Lesbian and Gay Studies 2:1-2, 1995)
  • “The Art of Psy Fi.” Narcissistic Disturbance (Los Angeles: Otis College of Art and Design, 1995)
  • “The Kings and I: Laurence A. Rickels talks with Klaus Theweleit” (Artforum, September 1994)
  • “Speaking Djaman: An Interview with Kiki Smith” (Thresholds: Viewing Culture 8, 1994)
  • “Act Out/Turn On” (Artforum, April 1994)
  • “Insurance for and against Women: From Nietzsche to Psychotherapy.” Nietzsche and the Feminine, ed. P. Burgard, University Press of Virginia, 1994: 257-286.
  • “Body Bildung: Laurence A. Rickels talks with Kathy Acker.” Artforum (February 1994).
  • “It’s a Wound-erful Life: Laurence A. Rickels talks with Rosa von Praunheim.” Artforum (December 1993).
  • “Faust, Freud, and the Missing Entries into War.” assemblage 20 (1993): 64-65.
  • “Opportunistic Diagnosis - Laurence A. Rickels on Jean Baudrillard’s Transparency of Evil.” Artforum (Summer 1993).
  • “Camp.” Modern Language Notes 108 (1993): 484-499.
  • “Real Time Travel: Laurence Rickels talks with Ulrike Ottinger.” Artforum (February 1993).
  • “Mickey Marx.” Lusitania 1.4 (1993): 205-215.
  • “Mummy’s Curse.” The American Journal of Semiotics. 9.4 (1992): 47-58.
  • “Spooky Electricity: An Interview with Friedrich Kittler.” Artforum (December 1992).
  • “California Buildin’.” Semiotexte Architecture, 1992. 6 pages.
  • “Eating Bambi.” 1-800 Magazine. 2 (1991): 47-49, 69-71.
  • “Missing Marx: or, How to Take Better Aim.” Strategies 6 (1991): 70-92. Reprinted in Strategies for Theory: From Marx to Madonna. Ed. R. L. Rutsky and Bradley J. Macdonald. State University of New York Press, 2003: 249-267.
  • “Alex.” The American Journal of Semiotics. 7.3 (1990): 53-61.
  • “Dear Diary.” Stendahl Syndrome: The Cure. New York: Andrea Rosen Gallery and Techne Group, 1990.
  • “Psychoanalysis on TV.” SubStance 61 (1990): 39-52.
  • “Music Phantoms: Uncanned Conceptions of Music from Josephine the Singer to Mickey Mouse.” SubStance 58 (1989): 3-24.
  • “Kafka and Freud on the Telephone.” Modern Austrian Literature 22.3/4 (1989): 211-225.
  • “Subliminalation.” Qui Parle (Paranoia/Schizophrenia) 2.1 (Spring 1988): 18-42.
  • “Friedrich Torberg.” Major Figures of Modern Austrian Literature, ed. Donald G. Daviau, Ariadne Press, 1988: 397-422.
  • “Psychoanalysis and the Two Orifices of Film.” The American Journal of Semiotics. 5.3/4 (1987): 419-445.
  • “Kafka and the Aero-Trace.” Franz Kafka and the Contemporary Critical Performance: Centenary Readings, ed. Alan Udoff, Indiana University Press, 1987: 111-127.
  • “The Road Belong Cargo.” Qui Parle 1.2 (Spring 1987): 26-36.
  • “Friedrich ‘Nichte.’” SubStance 52 (1987): 3-20.
  • “Die Blechtrommel: Zwischen Schelmen- und Bildungsroman.” Amsterdamer Beiträge zur neueren Germanistik 20 (1985/86): 109-132.
  • “Stifter’s Nachkommenschaften: The Problem of the Surname, the Problem of Painting.” Modern Language Notes 100, 3 (April 1985): 577-598.
  • “Deception, Exchange, and Revenge: Metaphors of Language in Emilia Galotti.” Lessing Yearbook 16 (1984): 37-54.
  • “Writing as Travel and Travail: Der Prozess and In der Strafkolonie.” Newsletter of the Kafka Society of North America 5, 2 (1982): 32-40.

Designed Courses

Umeå University, Sweden
  • Techno Feminism
  • The Mines of Falun: Explorations of What’s Mine
Art Center College of Design, Pasadena
  • Transhumanity
  • Devil Father Mine
European Graduate School, Saas Fee, Switzerland
  • Haunted Art and Thought (seminar series with artists, including Ulrike Ottinger, Sue de Beer, Diana Thater, and Heinz Emigholz)
  • Schauer Scenes in Film and Philosophy
  • Endopsychic Allegories
  • Devil May Sign
Otis College of Art and Design
  • Ghostbuster and Gadget Lover, the Dandy and the Vampire
Universität zu Köln
  • The Devil Lectures
UC Santa Barbara
  • Going Postal
  • Winnicott’s Psycho Analysis
  • Schizophrenia
  • Introjecting Melanie Klein
  • Back to Frankfurt School
  • Aristocriticism
  • Gotta Read Goethe
  • Hegel With Shmear
  • Schiller: The Ghost Seer
  • Ghost Media
  • Satan and Dad Certainty
  • On the Superhuman
  • Psy Fi
  • Fantasy
  • The Creature
New York University
  • The Undad
  • Klein. Melanie, Klein
  • Genealogies of Psychoanalysis: Psycho Horror, the Superhuman, and Science Fiction
Staatliche Akademie der Bildenden Künste Karlsruhe
  • Deutschland. Ein ,,Science Fiction

Video Lectures

Selected Interviews

  • „Ethics of Encounter and Catastrophe Preparedness: Laurence A. Rickels talks with Gean Moreno” (Art Papers 2010)
  • “Paranormale Sounds – Die Akustik des Jenseits. Ein Feature von Raphael Smarzoch“ (WDR 3 open: FreiRaum, 27.9.2008)
  • „Der Nihilismus der Überwachung. Ein E-Mail-Interview mit Laurence A. Rickels von Tom Holert“ (Imagineering. Visuelle Kultur und Politik der Sichtbarkeit, ed. Tom Holert, Oktagon 2000)
  • „Interview with the Vampire – Nancy Barton talks with Laurence Rickels“ (Flash Art 210, 2000)
  • „Teenage Werwolf. Brigitte Weingart interviewt Laurence Rickels“ (Spex 10 1997)
  • „The Case of California: An Interview with Laurence Rickels by Avery Gordon and other Ghosts“ (Thresholds: Viewing Culture 7, Spring 1993)
  • „Digging Freud: From California to Germany. Catherine Liu talks with Laurence A. Rickels” (Artforum, October 1993)

Writing on Rickels (Selected)

  • D. Harlan Wilson, "Psy-Fi Mediations via Philip K. Dick" (Extrapolations 2011)
  • Steve Raynie, “Rickels, Laurence A. I Think I Am: Philip K. Dick (Studies in Popular Culture, Fall 2010
  • Tom McCarthy, “Technology and the Novel, from Blake to Ballard” (The Guardian, 24 July 2010)
  • Peter Rehberg, “Zum Sterben Schön. Warum Vampire schwul sind“ (Männer 10.10)
  • Nils Plath, „Über Laurence A. Rickels‘ Erkundungen zu Bestimmungsorten von Trauerarbeit“ (Texte zur Kunst, September 2009)
  • Carrie Smith-Prei, „Laurence A. Rickels. Ulrike Ottinger: The Autobiography of Art Cinema” (German Studies Review 32/2, 2009)
  • Anita Lam, „Encounters with the Devil: Devils Fictions and Demonic Writing“ (IASLonline 2009)
  • Jeffrey Librett, „Rickels, Laurence A. Nazi Psychoanalysis” (Monatshefte XCVI, 3, 2004)
  • Michael Dorland, “How the Nazis Won World War II – And All Subsequent Wars” (Culture Machine 2004)
  • Mark Featherstone, „Apocalyptic Totalitarianism. The Totalitarian Psyche and Nazi Psychoanalysis” (CTheory.net 2003)
  • Benjamin Bennett, “Foreword,” Nazi Psychoanalysis (University of Minnesota Press 2002)
  • Erik Davis, „The Vampire Lectures, by Laurence A. Rickels” (Bookforum, Winter 1999)
  • Irit Krygier, “L.A. Lambaste” (artnet.com 1999)
  • Thomas Kniesche, “Tot, Scheintot, Untot? Amerikanische Dekonstruktion der dritten Art“ (Weimarer Beiträge 39, 3, 1993)
  • Ulrich Baer, “Review of Laurence A. Rickels, The Case of California” (The American Journal of Semiotics 10, 1-2, 1993)
  • Gregory Ulmer, “Rickels, Laurence A. The Case of California” (SubStance 21, 3, 69, 1992)
  • Akira Mizuta Lippit, “Laurence A. Rickels, The Case of California” (Modern Language Notes 106, 5, December 1991)
  • Akira Mizuta Lippit, “Laurence A. Rickels, Aberrations of Mourning: Writing on German Crypts” (Modern Language Notes 105, 3, April 1990)
  • Friedrich Kittler, “Vorwort,” Der unbetrauerbare Tod (Passagen Verlag 1989)
  • Sander Gilman, “Rickels, Laurence. Aberrations of Mourning” (The German Quarterly 62, 1989)

Film Appearances (Selected)

  • Under Snow (Ulrike Ottinger 2011)
  • The Korean Wedding Chest (Ulrike Ottinger 2009)
  • Performanz der Toten (Arno Böhler and Susanne Granzer 2007)
  • Flashforward (Eva Meyer and Eran Schaerf 2004)
  • In the Shadow of the Vampire (Warner Brothers 2000)
  • Die Beach Boys und der Satan (Christoph Dreyer 1997)

Art Exhibitions

  • (Co-Curator) “Meneghetti a Roma. Opere 2000-2006” (Centro Internazionale d’Arte Contemporanea, Rome 2006)
  • “Alle-Gory” (Mandarin Gallery, Los Angeles 2005) Featuring works by Ali Acerol, Tom Allen, David Askevold, Nancy Barton, Margarete Hahner, John Miller, JP Munro, Aura Rosenberg.
  • “Art / Journalism” (Rosamund Felsen Gallery, Santa Monica 1999). Featuring works by Stephen Behrens, John Boskovich, Jessica Bronson, Steve Hurd, Larry Johnson, Kelly Mason, Marc Pally, Stephen Prina, Diana Thater, Christopher Williams

See also

External links

References

  1. ^ Laurence A. Rickels Profile at European Graduate School, Department of Media & Communications
  2. ^ The Johns Hopkins University Press - Modern Language Notes
  3. ^ http://www.spoutmovie.com/about.html