Otmar Wagner (1966) studied at Angewandte Theaterwissenschaft, University of Giessen and Object Theatre in Amsterdam. Since 1992 he has worked as an interdisciplinary artist, developing solo projects and in collaboration with performance groups such as “norton.commander.productions”, “toxic dreams” and “Monster Truck”.
Otmar has also performed in Copenhagen with “Inventur Debil” in 2001 and, with “Stuff the Holes, Yeah!” at the Berliner Luft 2 festival in 2005.
For Samtalekøkkenet April 2012 he presented a song for Samtalekøkkenet and a performance; The Border.
On 17 January 2001 Newsletter Vibeke Wern in Berlingske Otmar Wagner’s “Inventur feeble-minded” with the following words:
The second event of the evening was also delayed. But German Otmar Wagners two hour long performance »Inventur Debil« was worth the wait. With a wonderful humoristic distance, Otmar Wagner covers wide distances in his performance about the utopias of the 20th century. He tematically covers topics of performance, Body Art and Live Art, and with an ironiclal self-importance he lends them a historical perspective.
The stage setting of »Inventur Debil« is designed as a strange mixture of a living room – where people can rest in sofas and deep chairs – and a lecture room, sound studio, lab and a meditative space. »To be authentically and absolutely present in time and space is very important in a performance« says Otmar Wagner in a ironic voice and dials the synthetic Clock Service. The telephone as the miracle of the 20th century, is a central topic of »Inventur Debil«, which, with its paradoxial view of Live Art, also focuses on the physical absence of the body – in the case of eg. phone sex and Mc Luhans communication theories of the global village.
In the beginning, in the role of the extremely politically incorrect reporter from Congo, Otmar Wagner is only present as a live feed on a screen together with the black African Nanu, who tries unsuccesfully to speak into a banana and is introduced as a 2 meter tall pygmy. Most of the time, the goodlooking, masculine Otmar Wagner moves about in the theatre space, going in and out of various roles and changing between direct and indirect speech. And his body becomes physically very present when he finally adorns it with feathers by piercing himself with safety needles.
Bitingly satirical are his intellectual recounts of travel experiences in the far East; here he impales the European cultural imperialism and presents extreme music examples from the japanese pop industry. Overall, the soundscape is a delicate and imaginative part of »Inventur Debil«, eg. when Otmar Wagner takes a magnet tape between hos teeth and controls the speed of the sound with his body movements. And he sucks the audience into the theatrical atmosphere by his use of classical fog effects.
In its form, as well as in the political and satirical content, »Inventur Debil« gives associations to the South African Robyn Orlins crazy-performance »Daddy, I’ve seen this piece six times…«. But Otmar Wagner is tematically much more encompassing and he customizes his performance to the occasion by tying in several Danish references in his recommendable performance, that consciously mirrors the Danish image of the ardous German mentality.