| Bibliografía |
BERG, Stephan; et álii. Julian Rosefeldt: Film Works. Ostfildern: Hatje Cantz, 2008. In the four-channel film installation The Ship of Fools (2007), filmed at the Baroque manor Schloss Sacrow near Potsdam, the location itself becomes the protagonist of the scenery through its history. Built during the Romantic period, Schloss Sacrow was temporarily inhabited by artists such as Felix Mendelssohn Bartholdy; during World War II, it was home to a Nazi officer; in the course of Germany´s division it was trapped in the death zone of the Berlin Wall and served as a training facility for watchdogs guarding the Berlin Wall, while nowadays it is declared as a World Heritage site and a destination for Sunday strolls. Rosefeldt combines the site - symbolising the metamorphosis and continuity of German national sentiments from the Romantic era through National Socialism, the division of Germany to nowadays - with equally emotionally charged and melancholic scenes reminiscent of Caspar David Friedrich: sheepdogs are defending an old oak tree; a well-built skinhead stares into the far distance before disappearing into the swamp; an opera singer performs Wagner; a ship loaded with a crowd silently waving German flags appears out of nowhere and passes a lone wanderer standing on the shore.
The work is a sceptical epitaph on German sensitivities and on the still problematic dealing with German identity. Characterised by an agitating immobility, the four tableaux vivants in The Ship of Fools visualise the risk of stagnation..
OLIVARES, Rosa(ed). 100 videoartistas = 100 Video Artists. Madrid (m): EXIT Publicaciones, 2009. pp. 342, 344; il. color; [...] casi todos los trabajos realizados por Rosefeldt en los últimos siete años juegan con la idea del tableau vivant y de su inmovilidad en movimiento. Esto se evidencia claramente, por ejemplo, en The Ship of Fools (2007), filmado en el castillo de Sacrow (monumento barroco alemán). La obra consiste en una contraposición de las transformaciones y continuidades del sentimiento nacional de los alemanes desde el romanticismo, pasando por el nacionalsocialismo y la RDA, hasta los neonazis. En cuatro bloques de proyección colocados en el suelo uno al lado del otro, y con el permanente ladrido de un pastor alemán como acompañamiento sonoro, se agrupan escenas cargadas de melancolía y de un estatismo mínimamente cinético que recuerdan a Caspar David Friedrich en un reflexivo y escéptico epitafio sobre más de dos siglos del carácter alemán. (Texto de Stephan Berg).
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