Marcel Odenbach

Marcel Odenbach

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Arteholic 2014 (5)

Palm Springs resident and film and art legend Udo Kier is "arteholic". He lives, breathes and makes art and at times he is even a living art piece. In this playful docu-fiction, we follow Udo on a road trip through famous museums in Frankfurt, Cologne, Paris, Copenhagen and Berlin, and eavesdrop as he chats with artists including Marcel Odenbach, Rosemarie Trockel, Jonathan Meese and Tobias Rehberger and filmmakers such as Nicolette Krebitz and Lars von Trier.
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Der wunderbare Udo Kier 2024

Udo Kier was a demon, Frankenstein, murderer, lover and six times Adolf Hitler. He has starred in art films, indie classics and blockbusters. Cult directors, superstars and audiences worldwide have fallen for the Cologne native's aura and have given him an incredible career - in Europe and in Hollywood. Now the atypical international star turns 80.
Marcel Odenbach

Marcel Odenbach

N/A

N/A

Most Known for...

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I Do the Pain Test 1984 (7)

Odenbach looks at forced definitions of gender by contrasting the mechanics of physical fitness with the stifling confinement of a baroque setting.
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Fishing Is Not Done On Tuesdays 2017

A collage hewn of archive material and self-produced pictures and sounds, in which the house is the protagonist.
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As If Memories Could Deceive Me 1986

In As if Memories Could Deceive Me, a piano keyboard, symbol of German bourgeois tradition, is the metaphorical ground upon which Odenbach devises a dynamic associative discourse on the construction of personal and cultural identity. A haunted theater of collective and subjective memory is constructed from archival film and mass media representations. Signifiers of German history and cultural heritage — Wagnerian opera, Hitler's rallies, the Nuremberg trials, Bavarian folk dancers — are orchestrated and conjoined on the screen with male fashion iconography and autobiographical references. From ornate, 19th-century Baroque architecture to a contemporary menswear emporium, the artist traces an historical trajectory of cultural excess. Confronting his bourgeois German past, Odenbach achieves a personal history that questions the construction of identity within this cultural context.