Der Georg-ss - 1951-1978 Der Georg-^ 1951 Büchner-Preisi~~ ■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 neben/Tëm Fotoalbum: 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. 554

Graphis de | 1981 | | page 64