Okaeshi
1988
Tiny record in parchment bag, stamped with fish motif
11.3 x 16.2 cm
Price
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Masanori Akashi, the organizer of Die Tödliche Doris performances in Japan in 1988 informed the group that after the concert some fans had come with presents. These fans did not expect okaeshi – a gift traditionally given in return – from non-Japanese, so they could be offered a pleasant surprise. The members of Die Tödliche Doris packed surplus tiny records of Chöre & Soli into small parchment bags and stamped them with the cover motif of their first 10 inch.
Naturkatastrophen
1985
Gelbe Musik, Berlin
Book and "7 record
With texts by Dietrich Kuhlbrodt and Christian Borngräber in german and english.
Photographs by Jürgen Baumann, Nan Goldin, Guido Hübner, Barbara Mohren and Nikolaus Vermöhlen.
Signed by Wolfgang Müller
Price
€ 80,- (+ shipping)
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Interviews
2014
Hybriden Verlag, Berlin
24 pages | CD
Contains an original drawing by Wolfgang Müller
Edition: 50
Signed and numbered
Price
€ 60,- (+ Shipping)
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9 photographs by Anno Dittmer
CD-Tracklist
| Die Tödliche Doris bewirbt sich um einen Sitz im Berliner Senat |
| Gruppenvorstellung |
| Interview mit Max |
| Intro II |
| Primitive Musik Machen |
| Konzertkritik |
| Doris Diskutiert |
Oper
2022
Hybriden Verlag, Berlin
98 Pages | numerous color illustrations
Including DVD Autofahrt in Deutschland (48:29)
+ Wolfgang Müller/Nikolaus Utermöhlen: Autofahrt in Deutschland – typescript, 16 pages
+ OUNDPOOL – From Noise to Opera and Back Again. Metamorphoses of the deadly Doris from 1980 to 2020, ,28 pages, numerous color illustrations
+ Multiple by Wolfgang Müller (signed & numberd)
+ Hermoine Zittlau, Postcard, (signed & numberd)
Signed and numbered
Edition: 100
Price
€ 100,- (incl. VAT., excl. shipping)
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An opera by Wolfgang Müller & Nikolaus Utermöhlen
West Berlin 1987
Performed at Galerie der Künstler im Völkerkunde Museum München, 4. and 5.12. 1987
Acting and singing:
Tabea Blumenschein
Hermoine Zittlau
Etsuko Okazaki
Off voices:
Wolfgang Müller
Nikolaus Utermöhlen
A thousand years have passed
And fog shrouded
The wet meadows in the flesh.
A cry from a thousand throats forms the realm.
To numbers the souls become
And make to the two hundred things
Hermoine Zittlau
At the center of the opera 'Autofahrt in Deutschland', written in the year of the dissolution of Die Tödliche Doris, is an unroadworthy passenger car and Helmut Kohl, who has a fatal accident on the autobahn. Three women are sitting in the car, singing their way through the country without a driver, getting out now and then to perform their solos at the front, at the edge of the stage. They are Hermoine Zittlau, Etsuko Okazaki and Tabea Blumenschein. For the last live performance of Deadly Doris, Wolfgang Müller ordered this car from Stephan Geene, the organizer of the Munich event. "Stephan wanted to have Tabea with him and asked me to convince her. I told him, ok, that won't be so easy." In return, he had to promise me to put a used car in this museum, as a stage prop at the performance venue, recalls Wolfgang Müller: "Tabea had a special role in the group - she only ever performed when she felt like it. Sometimes it took some convincing." The organizers finally got the car from the car graveyard and shipped it to the museum with the help of a transport company.
While the "ghost train" is a well-known and ambiguous symbol, "ghost cars" appear rather rarely in film and literature. For Wolfgang Müller (*1957), who has no driver's license and comes from the VW city of Wolfsburg, founded during the Nazi era, whose car plant dominates everything there, and for Nikolaus Utermöhlen (*1958 - 1996), who had a driver's license but hardly ever drove a car, the car was a symbol of German madness, a national fetish.
Martin Schmitz, 2022
We put together all the sounds of the opera with the 27 numbered audio cassettes recorded between 1980 and 1981, some of them still with Dagmar Dimitroff and Chris Dreier. In addition, we recorded some new tracks. Live we used two cassette decks. These were used like instruments with which the tapes were played according to previously determined rules and systems and transferred to the loudspeaker boxes. When a tape was to be played, where it was louder, softer, faded in or out, we noted on sheets of paper that are now lost. Presumably they lie somewhere in the 33 folders of the Doris archive in the K-Strich gallery in Bremen. The singers rehearsed to these tape sounds. On stage they sang to these tape sounds. Nikki and I used our voices live offstage, which were alienated by various effects devices. The 27 labeled cassettes with the yellow, red and white labels still exist today.
Wolfgang Müller, 2022
Theater
2019
Hybriden Verlag, Berlin
88 Pages | numerous coloured pictures
Including a double-sided signed multiple by Wolfgang Müller
+ DVD That was Deadly Doris 1980–1987 (1:23:23)
Price
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Masanori Akashi’s invitation to Japan in 1988 came too late. Post-punk band The Deadly Doris had already dismantled in 1987. What to do?
If Doris were to play a concert, it would be like a comeback or a reunion as a band. Doris didn’t want to do that. So instead of playing a concert, the idea came about to stage a theatre piece That was The Deadly Doris 1980–1987. This is the title of the theatre piece.
In the theater piece the various phases of bodiless pop star Doris appear in the form of a mise-en-scène. The audience can see the transformation of an art concept from its very beginnings as an electronic and post-punk band, following its metamorphoses and its strategies, until its final consumption and dissolution through wine, which was drank by Masanori Akashi.
“Here I’m standing with a band that no longer exists. Cheers!” And Doris now flows as a Vina da tavola bianco through Akashi’s body and dissolving inside.
The bodies of the band members are absent, only visible as shells in the form of their clothing and costumes, through the repetition of gestures and facial expressions, of sounds and vocals.
In the theater piece the various phases are commented upon by Masanori Akashi, who is standing in between the actors on stage and explains to the audience what is happening.
The video is based on documentary material of two concerts from The Deadly Doris in 1988 in Club Quattro with Masanori Akashi.
Artist’s Edition in four acts in German, English, and Japanese
Edited by Wolfgang Müller and An Paenhuysen
English translation: Walter Crasshole
Japanese translation: Masanori Akashi
88 pages, four acts:
1st Act: Punkband / Punk Band / パンクバンド
2nd Act: Die Kunstmusikband / The Artist Band / 実験音楽バンド
3rd Act: Independent / インディペンデント
4th Act: Verwandlung / Transformation / 変身
The End (with letters from Japan and an afterword by Masanori Akashi)
Kostüme
2018
Hybriden Verlag, Berlin
92 Pages | 48 Pictures
Comes inside a bag, designed by Tabea Blumenschein
+ Artwork by Wolfgang Müller
+ DVD by Die Tödlichen Doris: Kulisse
Edition:120
Price
€ 120,- (inkl. MwSt., zzgl. Versand)
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Costumes and clothing were extremely important for Die Tödliche Doris. Without clothing, Doris would have been absolutely unperceivable. One could even say she has her clothes alone to thank for her existence. Doris doesn’t have a body, much less an identity. That is to say, she has less than absolutely nothing. Her presence can solely be felt through her clothing. (Wolfgang Müller)
This the artist book contains the digitalized Super-8-Film KULISSE by Nikolaus Utermöhlen & Wolfgang Müller D 1984, 54 min., DVD.
The book is in a tote bag, designed and signed by Tabea Blumenschein. In limited edition of 120. Also there is a Doris-postcard with feather signed and numbered by Wolfgang Müller.
For the 120 ex of the Doris' tote bag Tabea Blumenschein first time break a promise she gave in 1984: ‘I don’t want to mass produce anything. [I’m not money-grubbing enough for that. In principle I only work when I need money or when good friends require my assistance. Therefore you will never see a boutique collection from me.]’” Tabea Blumenschein in: High Society, 1/1984 January, p. 45.
Ein letztes Interview / A last Interview: Tabea Blumenschein / Wolfgang Müller
2021
Hybriden-Verlag, Berlin
64 pages
Signed and numbered
Edition: 100
Price
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On August 27, 2018, Wolfgang Müller arranged to meet his longtime friend Tabea Blumenschein for an interview at her apartment in Allee der Kosmonauten. He had noted personal and artistic stations of her life. At that time, he had no idea that it would be the last interview with Tabea.
This interview, actually more of a personal conversation between two artist friends, is now being published in a limited edition by Hybriden-Verlag. Tabea Blumenschein was one of the most idiosyncratic and dazzling personalities of the West Berlin subculture of the 1970s and 1980s. Whether as an actress, artist, performer, model, fashion designer, singer, filmmaker, glamour and queer punk icon, her unique presence and style made her unmistakable. Her friends were filmmaker Ulrike Ottinger, dancer Valeska Gert, actor Udo Kier, artist Martin Kippenberger, fashion designer Claudia Skoda and writer Patricia Highsmith. And Tabea Blumenschein was part of the cult band Die Tödliche Doris, founded by Wolfgang Müller and Nikolaus Utermöhlen, since its founding in 1980.
Photographs by Gerhard Dorrie and Wolfgang Müller
Stills taken from Eva Vitijas film Loving Highsmith, 2021
German to English translation by Walter Crasshole
Supplements
Chris Dreier: Hero Worship Special – Tabea Blumenschein, audio CD, Cashmere Radio, 2020. (Interview with Wolfgang Müller with original recordings from Die Tödliche Doris).
Wolfgang Müller: Tabea and Doris may surely still be present and absent at the same time?, black and white photograph of the band from 1983, colour edited by Gerhard Dörries in 2021 following a concept by Wolfgang Müller.
Wolfgang Müller & Tabea Blumenschein: Zoo: Drawings from DRY (reproduction), 1983
Gedankenpfad Laibtätigkeit Aidmann
2019
20 pages | numerous pictures
Including a CD with the peace "Überlieferung Josef Pfeuffer 3.6.76"
Edition of 100 | Numbered, stamped and signed byWolfgang Müller
Hybriden Verlag Berlin
Price
€ 38,- (+ shipping)
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One of the recordings Nikolaus Utermöhlen brought to The Deadly Doris was that of an old tape by a gentleman named Joseph Pfeuffer. He lived in a small village near Würzburg and was considered a madman, hermit and outsider. Several times he had been put into a psychiatry. His half-timbered house he had coloured from top to bottom in bright colors by self-written laws and commandments. He looked impressive, remembered Nikolaus. He was impressed by Joseph Pfeuffer's imagination and obstinacy. Now and then he visited him. He had been very hospitable. At some point Pfeuffer Nikolaus confidently gave one of his tape reels. On this he had recorded his demands and ultimatums, again and again interrupted by exact time statements.
This tape was now the basis of the track "Tradition Joseph Pfeuffer 3.6.76", a contribution of the Deadly Doris for the compilation "Lieber Zuviel Als Zuwenig" (ZickZack summer hits 81).
When we produced the post, Dagmar Dimitroff had disappeared without a trace. She was member of a bizarre sect-like group around the Hungarian artist Janosch, the brother of video artist Vera Body. Since than, she has been completely unpredictable, missed appointments and had fierce mental changes strong mood swings. A few weeks earlier, Dagmar, Nikolaus Tabea, and I had completed the studio recordings for our first LP, which was released in 1982. After that, Dagmar was beyond reach. We thought about how we could get in touch. We appreciated her powerful drumming and her wonderful voice, which can be heard on "fliegt schnell laut summend". Where was Dagmar?
So I spoke my search call into the microphone of the recording studio in the final seconds of the 2:30 minute long Pfeuffer tracks. There is this repeated message: "Dagmar, melde dich!“
Wolfgang Müller, 11.1.2019
Werkverzeichnis
Deadly Doris' artworks consist of sound, music, time, space, concept, light, movement and performance. They appear in immaterial form. In addition, a manageable number of art objects and installations exist (or have existed) in material form. These were created between 1979 and 1992 and comprise a total of 16 work complexes. The catalogue raisonné is dedicated to the documentation of these 16 material works.
Die Tödliche Doris bewirbt sich um einen Sitz beim Berliner Senat
A Was möchte Die Tödliche Doris? | 6m 3s
Voiced by Claudia Urbschat-Mingues
B Musik für Wahlberechtigte | 7m 47s
Max Müller
Sprechpause
2018
Fang Bomb, London, UK
Single sided LP
Price
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With typically subversive swerve, Die Tödliche Doris return to their earliest work with a dissection of their debut album's final track, homing in on the rhythmic noise / radio cut-up collage 'In Der Pause' and emphasising its fluctuating infidelities and their inherent, druggily hypnotic qualities. The original sounds of “In der Pause” survived on a single audio tape dating from 1981. All these years later, Chris Dreier and Wolfgang Müller have used that material as the source for five new tracks of 'pause music'. The material on the original audio tape has been reworked using Moog analogue effect modules and Ableton Live. It has been supplemented with archived announcement interludes from radio and television stations, including German stations WDR, NDR and HR, Radio Italy IBF and Radio Kamerun. Single-sided vinyl with "White noise test" on the flipside. Second edition with insert and modified rear artwork.
Reenactment (I)
2019
Major Label, Jena
Cardboard box containing
LP with sounds from 31 vibrators
31 prints of vibrator drawings
by Tabea Blumenschein
Reviews of 31 vibrators by Katrin Kämpf
Price
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Since the Goethe Institut exhibition Geniale Dilletanten (Brilliant Dilletants) was seen around the world, more and more people have confessed to being an ingenious dilettante. But Wolfgang Müller (born 1957), whose book Geniale Dilletanten established the German spelling mistake “Dilletant” in 1982, has long since moved on. He recalls the audio tape Das Typische Ding, which he recorded one year before, with Dagmar Dimitroff (1960–1990), the band co-founder Nikolaus Utermöhlen (1958–1996), and filmstar Tabea Blumenschein (1952–2020).
The relationship between the words “dilletant” and “dildo” is obvious. The Latin word dilettare means to please and to delight: the dilettante is thus translated as a lover or afficionado.
Within the sound spectrum of thirty-one contemporary vibrators, we witness a resurrection of Die Tödliche Doris in 2019. She now emerges as a performer, musician, and instrument rolled into one. Doris has never been so close to us.
The band members are thirty-nine years young and bear exciting fresh artistic names such as Kushi, Cayona, Touch, Womanizer 2Go or Little Paul. Their sonorous bodies of desire spread pleasure outside and beyond music.
Tabea Blumenschein welcomed her new band members in the most friendly way. The artist captured the personalities of the new members in thirty-one exclusive colour portraits. They show thirty-one supremely unconventional individuals, all equipped with great star potential.
Cultural scholar Katrin Kämpf got the devices ready for operation and recording in noise-expert Frieder Butzmann’s recording studio. Her sex-toy reviews from the magazine L-MAG can be found in the original German version, with English translations by Anne Gaschütz, on the backs of Tabea Blumenschein’s 31 corresponding portraits.
Tabea Blumenschein * Wolfgang Müller * Instruments: Katrin Kämpf * Design: Lars Nagler
feat.
Vibrating Bullet / RO-80mm, Better Than Chocolate, Tiani 2, Getaway, Rave, Flare, Cayona, Penguin, Laya 2, Touch, Cupcake, Form 6, BonBon, Magic Massager, Siri 2, Kushi, Feder, Sally Sea, Stronic G Pulsator II, We Vibe Nova, Iroha-Stick, Partner Whale, Vortex Vibrations, Little Paul, Tango Smartvibe, Rub My Duckie, Motorhead Overkill, Phoenix Magma Toy, Iris, Partner Plus und Womanizer 2Go.
Nikolaus Utermöhlen: Karlsbad
1989 / Rerelease 2023
La Scie Dorée, Heusden-Zolder, Belgium
LP + 8 pages booklet
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Nikolaus Utermöhlen was a founding member of Tödliche Doris. Karlsbad is his only solo release. It is a collection of 23 compositions for clarinet, accordion, percussion, recorder, violin, guitar and organ.
This record was made for the movie Georgette Meunier by Tania Stöcklin and Cyrille Rey-Coquais. Recorded in 1988 at the Haus Der Tödlichen Doris, Berlin, mixed in 1988/89 at Vielklang Studios, DFFB, Haus Der Tödlichen Doris and Pyramid City Studio.
Chris Dreier & Tim Löhne: MK/CT
1923
Fang Bomb, London, UK
LP
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Spree is the main river that flows through Berlin. It is not often that
it gets cold enough for the river to freeze over but a few years ago,
the ice lay solid. Chris Dreier recorded the sounds of the ice, the
cracking and popping as the temperature changed, and sent the recordings
to Tim Löhde.
Löhde responded, and that was the beginning of the musical
correspondence that defines MK/CT. Since then, Dreier and Löhde have
sent sounds to each other --field recordings, voices, recordings of
synthesizers and pianos -- with the intent of composing incrementally.
Adding, removing and transforming the composition with each receipt and
return. One element and one layer at the time. Back and forth, until the
finished piece emerges.
Chris Dreier is a composer, performer and artist residing in Berlin, and
an early member of Die Tödliche Doris. In 2017, she returned to the
project to record Sprechpause with Wolfgang Müller. Tim Löhde is
visual and sound artist based in Düsseldorf.
Die Lagerbestände der Tödlichen Doris
1991
Offset and rohrschach on cardboard
Invitation cards with painting for the exhibition of Galerie von Witzleben
Karsruhe | 29.6. - 9.8.1991
42,0 x 29,7 cm
Edition: 9
Price
€ 450,- (+ shipping)
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Cadavre Exquis auf Messeflyer (Art Frankfurt)
1991
Invitation card with drawing
21 x 21 cm
Edition: 120
Price
€ 240,- (inkl. MwSt., zzgl. Versand)
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Die Teilnahme an der Kunstmesse ART Frankfurt bedeutete für die Kreuzberger Galerie Zwinger ein hohes finanzielles Risiko. Jede teilnehmende Galerie erhielt einen Art-Frankfurt-Messe-Flyer in hoher Auflage für die Eigenwerbung. Die Tödliche Doris schlug vor, aus diesem Flyer ein Kunstwerk zu machen: Sie versah nun den Flyer der Galerie mit einer "Doris"-Figur und der Auflagenhöhe. Die Gruppenmitglieder bemalten nun individuell 120 dieser gedruckten Messe-Flyer und gestalteten so jeden dieser Flyer zu einem Unikat
Dublette (Souvenir)
1991
peacock feather, laundry label, framed behind museum glass
Edition: 30
Frame: 135 x 40 cm
Price
€ 1600,- (+ shipping)
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