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[Deborah Sengl's] stunning display of 176 taxidermied rats as actors presenting forty-four scenes from The Last Days of Mankind deliver[s] a bracing test of [the play's] potential. [...] The preparation, costuming and posing of the rats as well as the meticulous attention to miniature props - facsimiles of period newspapers, a factory owner's top hat and bow tie, the sample cases of traveling salesmen, infantry rifles - reflect a deep knowledge of Kraus' text and disciplined commitment to an unconventional representation of its meaning. The powerful effect of this large assemblage of monochromatic tableaux is heightened by juxtaposition with the preparatory drawings, which were exhibited next to them and are beautifully reproduced in the catalogue. These delicate line drawings all use color, sparingly but pointedly, so that the viewer is inevitably drawn to a comparison with the corresponding tableaux. Seen up close, as they are in the catalogue photographs, which include some unsettling enlargements, every white rat's cocked head, gaping mouth, or crooked claw points back to the linguistic physiognomy of the speakers of a war-contaminated language who people Kraus' drama. - Leo Lensing, Karl Kraus at War, Times Literary Supplement Certainly eye-catching. - Publishers Weekly No folly, no mendacity is exempt from Kraus' gaze. - Marjorie Perloff Sengl expressly states that she is not in a position to offer a quick solution for all the injustices of our times. But her works urge us to cast a more open and more empathic view of our environment, and that would already be a very commendable first step.- Acid Rain The Last Days of Mankind is, naturally enough, about the First World War, and about all war, but it is also about what our civilization is and about who we are. That is why, like all great works of art, it is, and will always remain, a 'contemporary' work. Those questions; who we are, what are our beliefs and values, what do we stand for, are as urgent today as they were in 1914-18 and its aftermath. Kraus, like the other three great writers he stands beside (Aristophanes, Juvenal, Swift) [...] is the voice we need to hear.- Michael Russell, author of City of Shadows and City of Lies When the age died by its own hand, that hand was Karl Kraus'. - Bertolt Brecht Modern fables for adults.- Widewalls

[Deborah Sengl's] stunning display of 176 taxidermied rats as actors presenting forty-four scenes from The Last Days of Mankind deliver[s] a bracing test of [the play's] potential. [...] The preparation, costuming and posing of the rats as well as the meticulous attention to miniature props - facsimiles of period newspapers, a factory owner's top hat and bow tie, the sample cases of traveling salesmen, infantry rifles - reflect a deep knowledge of Kraus' text and disciplined commitment to an unconventional representation of its meaning. The powerful effect of this large assemblage of monochromatic tableaux is heightened by juxtaposition with the preparatory drawings, which were exhibited next to them and are beautifully reproduced in the catalogue. These delicate line drawings all use color, sparingly but pointedly, so that the viewer is inevitably drawn to a comparison with the corresponding tableaux. Seen up close, as they are in the catalogue photographs, which include some unsettling enlargements, every white rat's cocked head, gaping mouth, or crooked claw points back to the linguistic physiognomy of the speakers of a war-contaminated language who people Kraus' drama. - Leo Lensing, Karl Kraus at War, Times Literary Supplement Certainly eye-catching. - Publishers Weekly No folly, no mendacity is exempt from Kraus' gaze. - Marjorie Perloff Modern fables for adults.- Widewalls The Last Days of Mankind is, naturally enough, about the First World War, and about all war, but it is also about what our civilization is and about who we are. That is why, like all great works of art, it is, and will always remain, a 'contemporary' work. Those questions; who we are, what are our beliefs and values, what do we stand for, are as urgent today as they were in 1914-18 and its aftermath. Kraus, like the other three great writers he stands beside (Aristophanes, Juvenal, Swift) [...] is the voice we need to hear.- Michael Russell, author of City of Shadows and City of Lies When the age died by its own hand, that hand was Karl Kraus'. - Bertolt Brecht Sengl expressly states that she is not in a position to offer a quick solution for all the injustices of our times. But her works urge us to cast a more open and more empathic view of our environment, and that would already be a very commendable first step.- Acid Rain

[Deborah Sengl's] stunning display of 176 taxidermied rats as actors presenting forty-four scenes from The Last Days of Mankind deliver[s] a bracing test of [the play's] potential. [...] The preparation, costuming and posing of the rats as well as the meticulous attention to miniature props - facsimiles of period newspapers, a factory owner's top hat and bow tie, the sample cases of traveling salesmen, infantry rifles - reflect a deep knowledge of Kraus' text and disciplined commitment to an unconventional representation of its meaning. [...] The powerful effect of this large assemblage of monochromatic tableaux is heightened by juxtaposition with the preparatory drawings, which were exhibited next to them and are beautifully reproduced in the catalogue. These delicate line drawings all use color, sparingly but pointedly, so that the viewer is inevitably drawn to a comparison with the corresponding tableaux. Seen up close, as they are in the catalogue photographs, which include some unsettling enlargements, every white rat's cocked head, gaping mouth, or crooked claw points back to the linguistic physiognomy of the speakers of a war-contaminated language who people Kraus' drama.--Leo Lensing Times Literary Supplement No folly, no mendacity is exempt from Kraus' gaze.--Marjorie Perloff When the age died by its own hand, that hand was Karl Kraus'.--Bertolt Brecht Modern fables for adults.--Widewalls Sengl expressly states that she is not in a position to offer a quick solution for all the injustices of our times. But her works urge us to cast a more open and more empathic view of our environment, and that would already be a very commendable first step.--Acid Rain The Last Days of Mankind is, naturally enough, about the First World War, and about all war, but it is also about what our civilization is and about who we are. That is why, like all great works of art, it is, and will always remain, a 'contemporary' work. Those questions; who we are, what are our beliefs and values, what do we stand for, are as urgent today as they were in 1914-18 and its aftermath. Kraus, like the other three great writers he stands beside (Aristophanes, Juvenal, Swift) [...] is the voice we need to hear.--Michael Russell author of City of Shadows and City of Lies

Author Information

Deborah Sengl (b. 1974, Vienna) is an Austrian artist whose paintings, drawings and sculptures pose questions about the role of individual identity in modern society. She uses taxidermied animal actors staged in tableaux and two-dimensional works of human-animal chimera that suggest a cathartic release of violence and trauma associated with institutions, culture, politics, consumerism, poverty, and leisure. Recent solo exhibitions include the Essl Museum of Contemporary Art; IFK, Linz; Museum of Modern Art, Carinthia; Galerie Geschler (Berlin); Galerie Hilger (Vienna); and the National Gallery in Tirana, Albania. She studied art at both the University of Applied Arts in Vienna and the University of Art in Berlin, and has made a secondary career in costume design.

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