toedlicherdorisConversation between Alena Williams and Wolfgang Müller on the mutability of video. Commentary on a selection of works from Die Tödliche Doris, which were either performed live or produced explicitly for television in West-Berlin from 1981-84. Language: English and German.

Die Tödliche Doris Over the course of seven years, the post-punk band Die Tödliche Doris made its mark on the 1980s musical scene in Berlin. Often consisting of a maximum of three or four performers at any one time – Wolfgang Müller, Nikolas Utermöhlen, Dagmar Dimitroff, Käthe Kruse, Chris Dreier, and Tabea Blumenschein – the group assumed a number of configurations as diverse as the artistic mediums in which they worked. At times conceived and produced independently of their music, their films and videos exemplify their collaborative and self-referential approach to artistic production, which often bordered on the burlesque. Reciting texts, narrating images, re-recording and overlapping sound, they transformed documents into events, reinventing their own music and filmed recordings both on stage and in front of the camera.

Choirs and Solos (1984) Video, 3:40

Natural Catastrophe Concert, WDR, Köln (1983) Video, 3:01

Super Mommy, Live Concert Paris (1983) Played Back in Berlin 1984, TV 3,

Barcelona, Video, 2:10

Cavaliers, Clavel-Stiftung, Basel (1984), Video, 6:27

Cavaliers, Live in Villingen-Schwenningen, Live Played Back in Berlin, Live Played

Back in Bruxelles, Live Played Back in S’Hertogenbosch, Video, 1:49

Debut in Helgoland, Clavel-Stiftung, Basel (1984) Video, 4:18

Die Tödliche Doris war eine Berliner Gruppe, die 1980 von den Kunststudenten Wolfgang Müller und Nikolaus Utermöhlen als Musikband gegründet wurde und der sich drei Monate darauf die Kunststudentin Chris Dreier anschloss. Die Musikgruppe wurde im Verlauf ihrer bis zur offiziellen Auflösung 1987 währenden Geschichte, auch in Kunst, Fotografie, Filmkunst, Video, Performance und Literatur aktiv.

Wolfgang Müller

is an author, musician (Die Tödliche Doris), and artist, who lives in Berlin and Reykjavik. He is the president of the Walther von Goethe Foundation Reykjavik-Berlin. His most recent publications related to Iceland include: “News from the Elves Front - The Truth About Iceland” (Suhrkamp, 2007), BLUE TIT - das deutsch-isländische Blaumeisenbuch (Martin Schmitz Verlag 1997), “Die Elfe im Schlafsack” (verbrecher-Verlag 2001) “Goethes Metamorphose der Pflanzen in isländischer Erstübersetzung” (Schriften der Walther von Goethe-Foundation 2001) Islandhörspiele, CD (Martin-Schmitz-Verlag/Bayerischer Rundfunk 2002), and “Mit Wittgenstein nach Krisuvík - 22 Elfenlieder für Island” (a-musik 2003). He is the current recipient of the Karl-Sczuka-Preis of the Südwestrundfunk (SWR), the prestigious international prize for advanced forms of radio art, for his radio play “Séance Vocibus Avium” on the calls of long extinct birds as performed by the Berlin-based musicians: Max Müller, Frieder Butzmann, Frederik Schikowski, Justus Köhnke, Annette Humpe, Francoise Cactus/Brezel Göring, Nicholas Bussmann, Hartmut Andryczuk, Khan, and Kristbjörg Kjeld/Wolfgang Müller.

Alena Williams

is an art historian and writer, who lives in Berlin and New York. Since January 2008, she has been a fellow in the research group “Media of History“ at the Bauhaus-Universität in Weimar. She is the editor and curator of the traveling exhibition on the land art, films, video, and site-specific installations of the American artist Nancy Holt for the Wallach Art Gallery at Columbia University, and the author of Light is a Kind of Rhythm, a speculative history on avant-garde and contemporary cinema (merz&solitude, 2009).