Ulrike Almut Sandig's ‘bootleg’ version of Walter Ruttmann's 1927 documentary of Berlin consists of a 22 canto cycle recorded and read over the film image, with a soundtrack by her Ukrainian collaborator, DJ and composer Grigory Semenchuk. This article argues that Gesänge des Funkturms — nach Berlin: Die Sinfonie der Großstadt, 1927 (2016) makes an intervention into urban space that constitutes a claim of ‘right to the city’ (Lefebvre). The methodological roots of the Gesänge can be traced to Sandig's ‘Augenpost’ project in Leipzig (2001–08), in which the poet and two collaborators staged a sustained intervention into public space in Leipzig, pasting poetry onto the city's walls. Through the Gesänge Sandig develops the right to the city into an emancipatory reconceptualization of the relationship between urban space and urban subject. Close reading of the Gesänge demonstrates how Sandig produces an epic reconstitution of Berlin's history from a radically ‘othered’ position and proposes a new ontology of the city constituted by a porous, hybridized, collective network of others.

中文翻译：

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Ulrike Almut Sandig 的城市干预：从莱比锡的“Augenpost”到柏林的后人类史诗

乌尔里克·阿尔穆特·桑迪格 (Ulrike Almut Sandig) 1927 年柏林纪录片的“盗版”版本由 22 章循环记录和阅读电影图像组成，配乐由她的乌克兰合作者、DJ 和作曲家格里戈里·塞门丘克 (Grigory Semenchuk) 创作。本文认为 Gesänge des Funkturms — nach Berlin: Die Sinfonie der Großstadt, 1927 (2016) 对城市空间进行了干预，构成了“城市权”（Lefebvre）的主张。Gesänge 的方法论根源可以追溯到桑迪格在莱比锡 (2001-08) 的“Augenpost”项目，在该项目中，这位诗人和两位合作者对莱比锡的公共空间进行了持续的干预，将诗歌粘贴到城市的墙壁上。通过 Gesänge Sandig 将城市权发展为对城市空间和城市主体之间关系的解放性重新概念化。仔细阅读 Gesänge 展示了桑迪格如何从根本上“异化”的位置对柏林历史进行史诗般的重构，并提出了一个新的城市本体论，该本体论由一个多孔的、混合的、其他人的集体网络构成。