BROKEN ANGEL (GEBROCHENGEL)

In Frankfurt near St. Peter’s church on Klaus-Mann-Platz, there is a memorial with an angel sculpture (aka Frankfurter Engel) for the homosexual men and women persecuted and murdered during the Third Reich. 2013 was a tumultuous year for LGBT rights like the spike in hate crimes in the U.S. post-DOMA, and passing of anti-gay legislation worldwide (most notably Russia and India). On 6 May 2013, the anniversary of Marlene Dietrich’s death and 80th year past the Third Reich, Stephen explores the historical and ongoing queer struggle and gilded apology of monuments in a guerilla performance by colliding the Frankfurter Engel with Marlene Dietrich (who rose to fame in the film Blue Angel, a gay and lesbian icon, and staunch detractor of the Nazi regime). He interacts with the space and sculpture while singing her signature song “Ich bin von Kopf bis Fuß” / “Falling in love again (I can’t help it)” a capella, accompanied by the surrounding soundscape of passer-bys, traffic, drun In Frankfurt near St. Peter’s church on Klaus-Mann-Platz, there is a memorial with an angel sculpture (aka Frankfurter Engel) for the homosexual men and women persecuted and murdered during the Third Reich. 2013 was a tumultuous year for LGBT rights like the spike in hate crimes in the U.S. post-DOMA, and passing of anti-gay legislation worldwide (most notably Russia and India). On 6 May 2013, the anniversary of Marlene Dietrich’s death and 80th year past the Third Reich, Stephen explores the historical and ongoing queer struggle and gilded apology of monuments in a guerilla performance by colliding the Frankfurter Engel with Marlene Dietrich (who rose to fame in the film Blue Angel, a gay and lesbian icon, and staunch detractor of the Nazi regime). He interacts with the space and sculpture while singing her signature song “Ich bin von Kopf bis Fuß” / “Falling in love again (I can’t help it)” a capella, accompanied by the surrounding soundscape of passer-bys, traffic, drunks, street sweepers; his rendition and movements around the memorial lending new import and subtext to the song. Over a period of 3 hours, Stephen performs 12 times at random intervals, one for each year of the Third Reich. Each time he performs, he starts in the next clockwise position. ks, street sweepers; his rendition and movements around the memorial lending new import and subtext to the song. Over a period of 3 hours, Stephen performs 12 times at random intervals, one for each year of the Third Reich. Each time he performs, he starts in the next clockwise position.