That Francisco de Goya has to be numbered among the most significant painters in European art history has long been recognised and documented. But what makes Goya so fascinating for other media such as literature, film and music? The central results of this workshop are as follows: Firstly, Goya is seen as the prototype of the committed intellectual engaged in the struggle against state despotism and religious fanaticism. Thus it is that he has been turned into a multivalently interpretable figurehead providing occasions to formulate covert political criticism in Franco's Spain or in the GDR, for instance. Secondly, his aesthetics offers a model both for the performance of subjectivity in different media and for the representation of social as well as political upheaval. The workshop aims were discussing these theses in an interdisciplinary dialogue between the fields of art, music, literature, drama, history, culture and media. Carlos Franklin's video installations ‘Four Black Scenes’ (2010), inspired by Goya and recently exhibited in the Centre Pompidou in Paris, rounded off the workshop. Together with the Goya compositions of the internationally renowned award-winning composer Michael Denhoff, who played together with Martin Tchiba (piano) his Op. 32 El sueño de la razón produce monstruos a very productive bridge was built between academia, art and society.
Vittoria Borsò (Düsseldorf), Marco Thomas Bosshard (Bochum), Markus Buschhaus (Düsseldorf), Michael Denhoff (Bonn), Carlos Franklin (London), Godehard Janzing (Paris), Manuel Köppen (Berlin), Jochen Mecke (Regensburg), Jens Meinrenken (Berlin), Gloria Mínguez (Berlin), Guido Rings (Cambridge UK), Susanne Schlünder (Osnabrück), Timo Skrandies (Düsseldorf), Holger Südkamp (Düsseldorf), Martin Tchiba (Velbert-Langenberg)