Der Georg-ss - 1951-1978
Der Georg-^ 1951
■P^ m - Eine Ausstellung
BPfe y des Deutschen Literaturarchivs Marbach
W^W und der Deutschen Akademie
für Sprache und Dichtung Darmstadt
Nicht aiizu lange hob und wog ich
den z&hflexibfan Rocken.
Zehn Blatt zahïto Ich ab,
der Rest wurde fen Nachttischchen versorgt,
den Mïllfederhalter fand ich in der Schubiade
er istifoll, an seinerTinte soil es nichtfehlen,
wie wne ich an?
Rambow/Lienemeyer/van de Sand
[Condnucd from page 548] the essence of a piece, as embodied in its title or in the minds of the
theatre folk involved in it, is presented to the passer-by in an unfamiliar and
challenging image. The posters thus draw attention to the frontier between
theatrical constructions and the trivia of a less imaginative day-by-day reality. They
point to the boundary between the two and thereby cancel it out.'
Their posters have thus become documents of the theatre in general and of the
individual performances. They are all 'photo-graphic'. Their Utopian reality
prompts comparisons with the pioneers of photomontage. We are reminded of
Heartfield's 'I paint with photography', but that is historical. The visions of the
Frankfurt team are subtler, take processes as their subject, are visual literature. They
have met with no resistance in the reality of advertising spaces on the underground,
but in this trite, uninteresting setting they seem like windows looking out on another
world, slighdy Surrealist, and in any case different.
Adam Seide says in Egoist: 'The posters from the Rambow/Lienemeyer/van de
Sand Studio have become something of their own: no longer graphic design in the
old sense, though they still communicate, but belonging quite clearly to the "higher"
realms of art, partly because of their size: a big format, coming close up to their sub
ject, generous, laconic, bold, playful, imaginative and repeatedly surprising and sur
prisingly comtemporary.' Comparing them with the posters that materialize around
them, we can see that they are a step ahead of their time. The means of expression are
known, but the message is delivered in a new way. They representoutside as well
as inside Germanya real contribution to the renewal of our visual culture.