Natias Neutert

Natias Neutert, portrait by Nic Frechen

Natias Neutert (spoken: "noytərt") (born February 24, 1947) is a German artist, author, poet, orator,^[1]and translator^[2] resident in Hamburg and Berlin.

Life and career

Neutert was born in, Neusalz, Poland and grew up in Hamburg-Eppendorf, attending the Rudolf Steiner School. After doing an apprenticeship as graphic illustrator, he studied philosophy, literary studies, and history of art at the University of Hamburg, and completed a fellowship at the Franz Mehring-institute, part of the University of Leipzig. From the outset of his career, he is active in different media.

Since the middle of the 60s he writes poems,^[3] and makes collages and drawings,^[4] About the latter the critic wrote:"He delicately draws human figures" (and) "he has his own distinctive verve and expressiveness".^[5] Inspired by America's new journalism, he writes articles for different newspapers,^[6][7]

In 1965 he featured his short film Noch und Nöcher (with Iris Berben) at the Berlinale.^[8]But his actual artist’s departure was in 1968. Instead of a normal academic final degree, he founded the first Internationale Walter Benjamin Gesellschaft in Hamburg. Its purpose: to promote Benjamin into a global prototype of theory of revolutionary change beside Marx, and to connect Benjamin's insights with the mass phenomenon of Pop music.^[9] From his first docentship at the Hamburg University of Applied Sciences^[10] in 1971 through to his latest book Wo sind wir, wenn wir im Bilde sind? (Where Are We When We Are In The Picture?)^[11]he is concerned with the freedom, power, and variety of imagination.

Between the 1970s and 1980s almost every child knew him as „Zaubertramp“^[12]because of his conjuring performances all over the country, his appearances in TV-shows like Sesamstrasse and others, and since his children's book, illustrated by himself, became a bestseller,^[13]. In the meantime he developed a performance art, about which Die Zeit No. 32, 04. August 1978 wrote: "In his person are blend jugglery, poetry, standup theater, and self-expression into a kind of entertainment that is really based on a colloquy with the audience". ^[14] As solo artist with almost twohours performances on the scene of thousands upon thousands cabarets, street and folk festivals, he also entered best theatres, opera houses and art museums in Germany as well, and got the nickname „Totalkünstler“ (total artist).^[15] Since the turn of the century, he concentrated himself more and more on freely spoken lectures in which distinctive performance elements were installed.^[16][17]

Performances and expositions

One-Mensch-Theater Natias Neutert at «Arena», Vienna 1982

Group shows (selection)

• 1986 Diogenes Synopse — ein paar Radischen at Künstlerhaus Bethanien Berlin, 05.-08. 1986.
• 1987 Wenn Elefanten sich treffen, kommt einiges Gewicht zusammen, with En Esch, Jacques Sehy and Udo Sturm at Staatsoper Hamburg, 1987.^{[18][19] [20][21]}
• 1988 Graphik, Collagen, Multiples, Galerie Kammer, Hamburg^[22]

Solo shows (selection)

• 1988 Arbeiten auf Papier, Kunst Büro Berlin 1988.^[23][24]
• 1988 Sympathy for Piano und Pump, Martin-Gropius-Bau Berlin 1988^{[25][26][27][28][29][30][31]}
• 2002: Phantombild des Paradoxen (Composite Sketch of Paradoxy), performance lecture in celebration of the 450-anniversary of the Philipps-Universität Marburg 2002.
• 2008: Guest Poet on Ringelnatz-Sommer, Kulturhistorisches Museum, Wurzen^[32]
• 2015: Rilke — Reise, Rausch und Rose, Rilke-Soiré, 14. 03. 2015 Cité Internationale Universitaire de Paris, Maison Heinrich Heine, Paris.^[33]

Translating

In the 70s Neutert started translations from English into German^[34]and since his abidance in New York in 1980 the way vice versa from German into English,^[35] In 2013, at the Leipzig Book Fair, ^[36] at a public reading at "Leipzig liest" ^[37] he provides insights into his greateast private passion project translating Benn’s poetry adequately and to save his linguistic innovations as well as his poetical sound. ^[38]

Publications

Anthologies

• 1999: Dompteur des flüchtigen Augenblicks, in: Martin Pudenz: Selbst. Umschau/Braus Verlag, Heidelberg 1999. ISBN 3-8295-6816-9^[39]
• 2000: Shigeru Ban. Ein sanfter Revolutionär (A Soft Revolutionary), in: Shigeru Ban Architects/Paper Tube Architecture — 10 Works 1990-2000. Galerie Kammer, Architektur und Kunst, Junius Verlag, Hamburg 2000. ISBN 3-88506-299-2.
• 2004: Das Abwesende, das stets anwesend ist. Die Beunruhigungsfigur des Denkens, in: Ruhm, Tod und Unsterblichkeit. Über den Umgang mit der Endlichkeit. Hrsg. von Konrad Paul Lissmann, Philosophicum Lech, Bd.7, Paul Zsolnay Verlag Wien, 2004, ISBN 3-552-05299-2.
• 2006: Aus der Stille. Eine Antwort auf Friedrich Hölderlin (From the silence. A response to Friedrich Hölderlin), in: Vom Wesentlichen zur Substanz, Bad Driburg, 2006.
• 2014 Fahrradspaß. Geschichten und Gedichte. Selected by Alexander Kluy. Reclam Verlag Stuttgart 2014, ISBN 978-3-15-010976-2.

Editing

• 1968: "Nathias-Neutert-Magazin", Nr. 1, 18. Oktober 1968, Cicero Presse, Hamburg.
• 1971: Spielen, Vorwort Bazon Brock, Kunstverein Hamburg 1971.^[40]
• 1980: Natias Neutert: Foolnotes, Very Best German Poems. Bilingual Edition, Smith Gallery, Soho New York 1980.
• 1989: Der fremde Blick, Kunst mit Fotografie. Faksimile-Mappe mit 12 einliegenden Blättern von Joseph Beuys, Rolf Dieter Brinkmann, Jürgen Klauke, Yves Klein, Urs Lüthi, Sigmar Polke et al. Edition Boa Vista, Hamburg 1989.^[41]

Monographies

• 1971: Nathias Neutert: Bausteine für eine polyästhetische Erziehung (Building Blocks for a Polyesthetic Education). Fachhochschule für Gestaltung, Hamburg 1971.
• Nathias Neutert: »Adorno ist tot. Der von uns verschiedene Philosoph". Pozzo Press, Hamburg 1971, </ref>
• 1976: Nathias Neutert: 100 Tricks und Zaubereien, 1th edition in 1976, 10th edition in 1993. Rowohlt Verlag, Reinbek bei Hamburg, ISBN 3-499-20119-4.
• 1977: Nathias Neutert: Was ist und was sein soll, Edition Pozzo Press, Karlsruhe 1977.
• 1982: Natias Neutert: You Can Make Magic, Angus & Robertson, London/Canberra 1982. ISBN 0-207-14843-0.
• 2014: Natias Neutert: Wo sind wir, wenn wir im Bilde sind? Über Differenziale der Einbildungskraft. Lilienstaub & Schmidt, Berlin 2014, ISBN 978-3-945003-98-5.

Bibliography (selection)

• Christa Sobe: Ein zaubernder Literat (A Conjuring Littérateur) in: Hannoversche Allgemeine Zeitung, Feuilleton, 09.05.1978.
• Michael Buselmeier: Klaun (Fool) in: Theater heute, vol 6, Juni 1981, p. 68.
• Elisabeth Rumpf: Das Ein-Mensch-Theater (The One-Mensch-Theater), in: Zur Person Die Welt Nr. 55, 06. 03. 1981.
• Manfred Sack: Musikalische Performance. Piano und Pumpe in: Die Zeit no 40, 30. 09. 1988.^[42]

See also

• Boa Vista (literary magazine)
• Pop journalism
• Sympathy (music)

References

External links

Wikimedia Commons has media related to Natias Neutert.

• Literature by and about Natias Neutert in the German National Library catalogue
• Natias Neutert at perlentaucher.de – das Kulturmagazin (in German)
• Natias Neutert: Selbst als Bär by Dagmar Weiss^[1]

1. ↑ https://www.youtube.com/watch?v=ZFZ1b19E8Rk