Ulrike Möntmann
Book Series of the University of Applied Arts Vienna
Series editor: Gerald Bast, Rector
THIS BABY DOLL WILL BE A JUNKIE
Edition Angewandte
Report of an Art and Research Project on Addiction and Spaces of Violence
Ulrike Möntmann, Department of Media Theory, University of Applied Arts Vienna, Austria Translation Gloria Custance Isaac Custance Research associate Nina Glockner Editor Jutta Kaussen Project Editor for the Publisher Angela Fössl Photography Luuk Kramer and others Graphic Design SJG / Joost Grootens, Silke Koeck, Julie da Silva
Typeface Practice Neue Haas Unica Pro Paper Planoplus Offset 90 gr Print and Lithography Drukkerij Robstolk BV, Amsterdam Project website www.outcastregistration.com Library of Congress Cataloging-in-Publication data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the German National Library The German National Library lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http: // dnb.dnb.de.
This work is subject to copyright. All rights are reserved, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, re-use of illustrations, recitation, broadcasting, reproduction on microfilms or in other ways, and storage in databases. For any kind of use, permission of the copyright owner must be obtained. First edition 2018 ISSN 1866-248x ISBN 978-3-11-054625-5 This publication is also available as an e-book (ISBN 978-3-11- 054792-4) and in a German language edition (ISBN 978-3-11-054626-2). © 2018 Walter de Gruyter GmbH, Berlin / Boston www.degruyter.com
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2010–2017 SPACES OF ACTION AND CIRCULATION OF KNOWLEDGE
Introduction Peter Weibel
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LÜCKE [gap] Prison Wear Collection —PWC Production of a wearable Prison Wear Collection 2 —PWC2 Project Concept: Living Room for Juveniles
292 Accomplices’ Meeting I [ART] Art Theory / Art History / Philosophy 308 Accomplices’ Meeting III [ART] Art Theory / Art History / Philosophy 324 Accomplices’ Meeting I [PSYCH] Psychiatry / Psychology 330 Accomplices’ Meeting II [PSYCH] Psychiatry / Psychology 336 Accomplices’ Meeting IV [ART] Art Theory / Art History / Philosophy 348 Accomplices’ Meeting III [PSYCH] Psychiatry / Psychology 352 Accomplices’ Meeting V [ART] Art Theory / Art History / Philosophy
1996–2001 PROLOGUE IN AN ISOLATED SPACE 14
16 52 90
104
2002–2009 OF SPACES OF VIOLENCE AND REVOLVING DOORS 120
122 Dutch Souvenirs 134 Europe Project: THIS BABY DOLL WILL BE A JUNKIE [TBDWBAJ ] TBDWBAJ Germany
140 143 Intervention Unna: Drop Off—Karin Pausch Series 170 TBDWBAJ Switzerland 202 Liefde in de Stad [Love in the City] 210 Intervention Amsterdam: Drop Off and Expert Meeting —Hester van de Beuken Series 224 TBDWBAJ Austria 234 TBDWBAJ Croatia 253 Intervention Zagreb: Drop Off and Expert Meeting —Pia Herc Series 268 Intervention Vienna: Expert Meeting and Drop Off —Ivana Landmann Series
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APPENDIX
359 Biographies in Their Original Languages 373 Bibliography 378 Table of Contents 384 Acknowledgments
1996–2001
ANONYMISATION
IN
AN ISOLATED SPACE
Ulrike MĂśntmann
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PROLOGUE
This book is about the lives, opinions, views, and experiences of convicted women drug addicts, and how they act both inside and outside of prison. Taken together, their individual life stories are a many-faceted collage that depicts a marginalised social group. Although most of the women inmates and patients in therapy facilities who took part in the projects described here wanted their real names to be used in this publication, I have nevertheless used pseudonyms in order to protect their identity and privacy. During and/or after the projects we did together, the women told me entirely of their own free will about the crimes they had committed that led to prison sentences, and talked frankly about their views on the penal system and treatment methods in therapy facilities. I see no reason to doubt the veracity of what they told me; however, I make no claim that the information is absolutely correct or exhaustive. All of the projects described here, which have been taking place in various European prisons since 1997, were made possible because of the explicit endorsement and support of the prison administrations and their staff. I have replaced the names of staff members from some of the prisons with the official function within the system that they fulfilled at the time, because it is not my concern to single out any individuals working in these correctional institutions. The people working in the administration and management of the prisons and therapy facilities who appear under their real names gave their explicit consent. My descriptions of carrying out the projects, of the prisons and therapy facilities, and times and dates are based on notes, records of the projects, correspondence, statements by project participants, and my memory. All information and details are to the best of my knowledge and judgement; in the very few cases where something was doubtful, I have opted for the most probable course of events.
LÜCKE [gap] Project with 12 prisoners and 6 staff members of the women’s prison in Vechta, Lower Saxony, Germany
“Lücke” [gap] is the term that Dietrich Bonhoeffer used for the void that arises when we are confronted by loss. Shortly before Bonhoeffer was executed by the Nazis in 1945, he wrote to his loved ones and tried to comfort them about his imminent death and beyond: “There is nothing that can replace the absence of someone dear to us, and one should not even attempt to do so. One must simply hold out and endure it. At first that sounds very hard, but at the same time it is also a great comfort. For to the extent the emptiness truly remains unfilled one remains connected to the other person through it.”1 I create forms that look like human-size vases. First, I make an empty form from rolls of clay, fill it with liquid microcrystalline wax2 and draw it off again as soon as a thin layer of wax adheres to the clay form. I repeat the process of pouring and drawing off until the wax layer is robust enough to stand up on its own without the form to support it. After removing the clay casing fingerprints on the outer surface of the wax form are visible that reflect the rhythm of my fingers when they pressed into the clay rolls. Inside the fingerprints there are traces of clay. The inner layer of the wax is smooth with a matte sheen.
P r o l o g u e in an I s o l at e d S pac e
1996–1999
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1 Dietrich Bonhoeffer, Auswahl. Chapter on Widerstand und Haft 1940–1945, letter, dated Christmas Eve 1943. Munich 1964; English quotation http: // www.goodreads. com / quotes / 283627-there-is-nothing-that-can-replace-the-absence-of-someone accessed 16.6.17. 2 Microcrystalline wax is an acid-free wax with a higher melting point than traditional types of wax and is less brittle than paraffin wax. It is used by bronze foundries, for example, in the process known as lost-wax casting.
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L Ü C K E [ g ap ]
P r o l o g u e in an I s o l at e d S pac e Karin Schumacher, LÜCKE in a prison hospital room, Vechta 60 × 90 × 40 cm
Cornelia Kneier, LÜCKE on a traffic island, Vechta, 130 × 60 × 50 cm. All photographs of LÜCKE: Luuk Kramer
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A collaborative project with fashion designer Anneclaire Kersten and eight women serving custodial sentences in Vechta women’s prison, Lower Saxony, Germany.
P r o l o g u e in an I s o l at e d S pac e
PRISON WEAR COLLECTION—PWC
The concept for the PRISON WEAR COLLECTION (PWC) developed from observations and questions that arose before, during, and after organising and completing the Lücke [gap] project. In this collaborative project, I only invite drug addicted prisoners to participate and not prison staff, following Anna Leer’s recommendation that having different interest groups involved in the project should be avoided. My throwaway remark, that with the women I could actually make any kind of prison clothes, even out of the hated, scratchy, jail blankets, was entirely spontaneous: it was to illustrate my firm belief in the women’s capabilities to master seemingly impossible challenges posed by work processes when the work and the product directly touch upon the women’s lives. Once I had announced this project proposal, I immediately saw its possibilities for using the motifs of “prison” and “clothing” to explore my assumptions about the lives of female drug addicts in prison: when one is incarcerated in a prison, this must be first and foremost a physical experience. It is an absolute necessity not to lose one’s identity during imprisonment, and this is expressed most manifestly in the women’s desire for style, whereby they do what is possible in their constrained environment: colouring one’s hair a new shade every week; giving oneself and others piercings and tattoos;27 making jewellery for themselves and as barter objects; and getting hold of clothing, shoes, and accessories that are evocative of “outside”.
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2000–2002
P R I S O N W E A R C OLLE C T I O N — P W C
P r o l o g u e in an I s o l at e d S pac e Mari Njie, arms, crocheted. Prison blankets, 170 × 35 × 35 cm, Seiler corridor
Nicole Frisch, sleeping bag. Smocked prison blankets, 200 × 60 × 60 cm, Seiler corridor
Maria von Bank [1962]
I am the unwanted child of my loveless mother At a g e f i v e , I s u f fe r f ro m my fat h e r ’s v i o l e n c e , v i o l e n c e i m p o s e d by my mother
Mella will shortly stand trial and is very optimistic that she will be allowed to go home afterwards; Renée will by now have made herself at home in the Steinhof – and she probably, like the rest of them, won’t need or want post-therapy. Kristine doesn’t know anything about Maria, but she is certainly not doing extremely badly.
At age six , the s cho ol c onfirms my hyp eractivit y At age s even, I suf fer from loneline ss and star t drinking my parents’ alcohol At age eight , my brother is s ent to reform s cho ol At age thir te en, I find c omfor t with friends and smoke hashish and marihuana with them, and take LSD
HINDELBANK, 31 MARCH 2007
At age fif te en, a friend give s me my first shot of morphine
KRISTINE STAM
At age six te en, I sho ot heroin and morphine At age s evente en, I star t s cho ol at the wish of my parents, and am expelled because of my drug addiction At age ninete en, I als o us e c o caine, tranquilizers, and me dicine At age t went y- one, my mentally retarde d s on is b orn
Kristine is happy about our letters, I then hear things from the outside, from you guys.
She is happy about the progress of the project, and is eager to see the finished work. It is now her favourite time of year, she enjoys the warm weather and the spring flowers.
At age t went y- t wo, I am detaine d and lo s e, through my parents’ intervention, the custody of my child
A s o f W h i t s u n I a m a l l o w e d t o g o o u t a g a i n a t t h e w e e k e n d , t h a t ’s g o o d f o r m e . N o w
At age t went y- t wo, I am in love with a woman, us e fewer drugs, and escape from prison
n e w, s t r i c t e r r u l e s f o r d r u g c o n s u m p t i o n , r e a l l y s e v e r e . B u n k e r a n d a b a n o n g o i n g
A t a g e t w e n t y - f o u r, I f a l l b a c k i n t o p o l y t o x i c o m a n i a c a l d r u g a b u s e and deal hashish to finance my addiction
go es on as normal, b oring and te dious. I have to ke ep motivating myself in order not
At age t went y-s even I us e no drugs apar t from methadone to get two wish-children
t h e w o r s t i s o v e r, a n d a t t h e e n d o f S e p t e m b e r I ’ m o u t o f h e r e . [ … ] T h e r e a r e n o w out for up to two months – when they can only punish. Apart from that , every thing to fall into a hole.
She says that Mella is still very sad about her trial, which turned out entirely different than expected:
At age thir t y- t wo, I relaps e into drug abus e with my b oy friend and have my children placed in a foster home
It costs her a great deal of ef fort to get out of the hole she is in and her bad
At age thir t y- eight , I live in fatal dep endenc e of a man and of drugs
s h e i s d o i n g w e l l i n t h e S t e i n h o f. M a r i a i s a l i t t l e d e f i a n t a s u s u a l , b a d - t e m p e r e d ,
At a g e fo r t y, I a m h o m e l e s s , a n d l i v e i n s h e l te rs o r o n t h e s t re et s
and written off sick at the moment .
At age for t y- t wo, my b oy friend forc e s me into pro stitution, and I stab him At age for t y- thre e, I break down and am c ommitte d to a psychiatric hospital
T B D W B A J S witz e r l an d
At age fif te en, my parents put my out in the stre et
feelings at the moment . I am not in contact to Renée, though as far as I have heard
Apart from that, she says, there is nothing to report, it’s all always the same and something extraordinary happens rarely, occasionally a new arrival or somebody leaves.
A t a g e f o r t y - f o r, I a m t a k e n i n t o c u s t o d y At age for t y-five, I fear dreams that announc e my death
HILDESHEIM, 8 APRIL 2007
Weronika writes that by chance she found my address again on the Internet, and had immediately wanted to write a few lines. Everything is OK with her.
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WERONIKA MAZUR
Zagreb, March 2008
Workroom in the training and education building, Ženska Kaznionica Požega. Photograph: Nina Glockner
T B D W B A J C r o atia
During the first meeting in Zagreb Vesna Babić emphasises Europe’s common interests and sees in our request an excellent possibility for cultural exchange between the Netherlands and Croatia. The following day, a chauffeured car of the Ministry drives us 175 km to Požega and the women’s prison, where director Slavko Orešković awaits us with his staff for a lavish lunch. The journey through the countryside brings back memories of the towns and landscapes that I got to know as a teenager on a holiday trip to a still intact Yugoslavia. At the time, the dark sides of the country passed completely unnoticed in the Germany that I grew up in. Now, though, the places and landscapes that we pass I see the “contaminated landscapes” that the war has left behind that my young Serbian, Bosnian, and Croatian Rietveld Academy students speak of, and often thematise in their works. The visit to the prison is a purely visual experience for me; no one here speaks English, Dutch, or German. Without Ivana’s Croatian, and her translation, the TBDWBAJ proposal would have failed. The atmosphere is splendid; Ivana translates the prison director’s jokes for me, sometimes a little embarrassed, while he and Vesna Babić finalise the details of how the project will be conducted. Nothing is a problem. If I understand correctly, the project’s execution on site is not discussed as a possibility, but as a fact. As important European guests they also decide to take us on a sightseeing tour of the surrounding area. My question about how many drug-addicted women are detained cannot be answered, neither by the prison director or his staff. The psychologist Magdalena Zivkovic says that there are many drug addicts in the Ženska Kaznionica Požega, but drug addiction has no effect on custody conditions, and there are no statistics on the number of drug addicts. Požega state prison for women, a former feudal country estate, which in the 1970s was transformed into an agricultural collective, is located next to the men’s prison, which we cannot even see from where we are. The women’s prison currently has 82 inmates and to it belongs a huge area with fields, plant nurseries and market gardens as well as many buildings which house the provincial court, the prison administration, several factory halls, the training centre, and the closed prison.
Ženska Kaznionica Požega, dormitory and dining hall. Photographs: Ivana Borovnjak
On our tour, we walk past the outbuildings into the closed prison, which seems to be a lot less secured than the women’s prisons in Western Europe. We pass a small control post, with a security guard behind glass, who checks the identity of the inmates and visitors and collects their cell phones before admitting them. There is no sally port here, nor at the main entrance, only old walls and heavy iron gates. In one of the outbuildings are the classrooms where training usually takes place, which will be put at our disposal for the project work. The closed prison is located in the mansion of the former country estate. The interior looks more like a youth hostel than the cell blocks of a prison. Inmates sleep in communal halls, which each have 12 to 15 iron bunk or camp beds. There are communal washrooms with large, low basins and cold water. Located on the ground floor are a communal refectory and the shop where the inmates can purchase things at certain times. Like in all prisons I have been in so far, the most coveted item seems to be hair dye. The most important workplace is the textile factory, which is located in a massive hall outside the walled prison complex. Here, outer clothing is made, mainly men’s suits and ties and women’s costumes, though also lace doilies are crocheted, and other hand-made objects are produced. The majority of
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O f S p a c e s o f V i o l e n c e a n d R e vo l v i n g Doors
CROATIA: FIRST CONTACT
Kunsthalle Wien Karlsplatz, Vienna, 16 October 2009
INTERVENTION VIENNA: EXPERT MEETING AND DROP OFF— IVANA LANDMANN SERIES
Alexandra Landré (moderator) Tina Leisch Lucas Lenglet Thomas Mießgang Ulrike Möntmann Corinna Obrist Iva Prosoli Eva von Rahden
Shird-Dieter Schindler
Hanne Seitz
Peter Weibel (keynote speaker)
Wolfgang Zinggl
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Transcription and Text Nina Glockner
designer, design theorist, Zagreb artist, Technical University, Vienna spokesperson, dramaturge, and queer activist, IG Kultur, Vienna art theorist, curator, Amsterdam director, journalist, and political activist, Vienna artist, Amsterdam head curator of the Kunsthalle Wien (2000–2011), publisher, Vienna artist, Amsterdam and Vienna psychologist and psychotherapist, women’s section of the Favoriten prison, Vienna art historian, Zagreb Museum, Zagreb communication and theatre studies graduate, Volkshilfe Wien, Sophie Education Centre for Prostitutes, Vienna psychiatrist, director of the Sociomedical Centre Baumgartner Höhe, Centre on Addiction and Substance Abuse, Vienna professor of the theory and practice of aesthetic education, University of Applied Sciences Potsdam artist, curator, art theorist, professor in the Department of Media Theory, University of Applied Arts, Vienna, and CEO, ZKM Center for Art and Media, Karlsruhe WochenKlausur artists group, spokesperson for art and minorities, MP of the Green Party, Vienna
T B D W B A J C r o atia
O f S p a c e s o f V i o l e n c e a n d R e vo l v i n g Doors
Participants Ivana Borovnjak Christine Hohenbüchler Marty Huber
In the following excerpts are presented of the lively discussion at the Expert Meeting. At the beginning of the discussion, Hanne Seitz, who as an art historian works “with artistic processes and approaches, which make an impact”, summarises the TBDWBAJ project by describing the path of the Baby Dolls as a TBDWBAJ in Kubus EXPORT, Vienna. Photograph: Ivana Borovnjak
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HÄNG NT LIC N DR VO N AB NT LIC IG IG OG EN DR OGNG HE HE ER ER R RAUM R RAUM AB HÄ ENAB HÄ ÖF FE NT ÖF FE NT NG IG NG LIC LIC ER ÖFIG ER ÖFHE R RA HE R RA UM UM FE NT FE LI CH NT LI CH ER RA ER RA UM UM
This diagram (detail) shows the crimes perpetrated against Rebecca Mertens and the social consequences for the perpetrators in chronological order with the dates and Rebecca's age. In addition, the diagram lists the laws that could have been applied and the penalties and/or prison sentences that would have been incurred.
EINFACHER EINFACHER DIEBSTAHL DIEBSTAHL 01976 1976 11977 1977 21978 1978 SCHWERER SCHWERER DIEBSTAHL DIEBSTAHL 31979 1979 41980 1980 51981 1981 RAUBRAUB 61982 1982 71983 1983 81984 1984 RÄUBERISCHE RÄUBERISCHE ERPRESSUNG ERPRESSUNG 91985 1985 101986 1986 111987 1987 STRAFTATEN STRAFTATEN GEGEN GEGEN DIE UMWELT DIE UMWELT 121988 1988 131989 1989 SACHBESCHÄDIGUNG SACHBESCHÄDIGUNG 141990 1990 151991 1991 161992 1992 KÖRPERVERLETZUNG KÖRPERVERLETZUNG 171993 1993 181994 1994 191995 1995STRAFTATEN STRAFTATEN GEGEN GEGEN DAS DAS LEBEN LEBEN 201996 1996 211997 1997 221998 1998 SEXUALDELIKT SEXUALDELIKT 231999 1999 242000 2000 RAUSCHGIFTDELIKT RAUSCHGIFTDELIKT 252001 2001 262002 2002 272003 2003 BETRUG BETRUG 282004 2004 292005 2005 302006 2006 STRAFTATEN STRAFTATEN GEGEN GEGEN DIE DIE 312007 2007 PERSÖNLICHE PERSÖNLICHE FREIHEIT FREIHEIT 322008 2008 332009 2009 1 1 342010 2010 PROSTITUTION PROSTITUTION 352011 2011 362012 2012 372013 2013 382014 2014
massnahme
KEINE [strafrechtlich] KEINE [strafrechtlich] Registrierung Registrierung Auflage Auflage BEHÖRDE BEHÖRDE Intervention Intervention Aufsicht Aufsicht POLIZEI POLIZEI
Meldung Meldung
ANZEIGE ANZEIGE
HAFTBEFEHL HAFTBEFEHL
UNTERSUCHUNGSHAFT UNTERSUCHUNGSHAFT
GERICHTSVERHANDLUNG GERICHTSVERHANDLUNG
VERURTEILUNG VERURTEILUNG
GELDBUSSE GELDBUSSE
EINWEISUNG EINWEISUNG AUFENTHALT AUFENTHALT Beratung Beratung Betreuung Betreuung Behandlung Behandlung
S P ac e s o f A cti o n A N D C I R C UL A T I O N O F K N O W LEDGE
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38
M M VAT ER RAU VAT ER RAU ALT PRIALT PRI M LE GEW LE GEW RAU RAU M SEXUEL SEXUEL PRIVAT ERPRIVAT ER GEW ALT GEW ALT SEXUEL LE SEXUEL LE RAUM RAUM PRIVATERPRIVATER GEWALT GEWALT KÖRPERLICHE KÖRPERLICHE
rebecca mertens [1976]
ArrestArrest Haft Haft Offener Offener Vollzug Vollzug Geschlossener Geschlossener Vollzug Vollzug
Tatbestand inzidentell Tatbestand regelmäßig
291
straftaten GEGEN
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PSYCHIATRY / PSYCHOLOGY
Participants Gabriele Fischer Ulrike Möntmann
324
Shird-Dieter Schindler
Transcription and Text Nina Glockner
Professor at the University Clinic for Psychiatry and Psychotherapy, Vienna, Austria artist, Amsterdam, Netherlands, and Vienna, Austria psychiatrist, Director, Sociomedical Center Baumgartner Höhe, Center for Addiction and Substance Abuse, Vienna, Austria
S P ac e s o f A cti o n A N D C I R C UL A T I O N O F K N O W LEDGE
ACCOMPLICES’ MEETING I [PSYCH]
At the first Accomplices’ Meeting in psychiatry and psychology, Ulrike Möntmann met with psychiatrists Shird-Dieter Schindler and Gabriele Fischer. To begin with Gabriele Fischer addressed the handling of addicted pregnant women and the social problems that arise in treating them. She criticized the fact that pregnant addicts—the largest group is alcohol-dependent but this is not registered by the system—are treated by general practitioners. Gabriele Fischer advocates that these women be treated by specialists, as is normal practice in the case of high-risk pregnancies. Further, she criticized the lack of “a holistic view of the problem of addiction” with reference to judging whether addicts are capable of bringing up children or not. Here, a lack of communication between the youth welfare service and psychiatry exists: the role of the youth welfare service is twofold and contradictory, for on the one hand it must provide help and act in the capacity of protector and person of trust, and on the other it is an agency with control obligations that makes far-reaching decisions. There needs to be far greater objectivity and professionalism also to avoid perpetuating the stigmatization of persons who since their childhood have been caught up in a cycle of institutionalized care.
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Vienna, 5 June 2014