Milo Rau has changed. He used to stage day-long reenactments in Moscow against artists who were unwelcome to the orthodox church, or he went to the Congo and set up a tribunal on genocide, war and overexploitation there with real actors. Well, these were his most blatant works, guaranteed worldwide attention, and also a lot of excitement – especially when it came to the “Congo Tribunal”, there were also voices that saw it as a kind of cultural imperialist attack. But one could be sure that Milo Rau always took any criticism of the projects of his “International Institute of Political Murder” into account. Freely based on the theses of his own manifesto: Art that doesn’t at least try to change something in the world can also be left alone. Ultimately, everything he does, whether in Russia, Rwanda or Mosul (he had “Orest in Mosul” played in the former Islamist stronghold in 2019), is aimed at Europe. To the old colonial powers, to neo-colonial structures.
Milo Rau’s production of “Antigone in the Amazon” at the Vienna Festival – Culture
