Echo Documenta 15

———— Filed under: Exhibition

Publ. 09.18.2022

Echo Documenta 15

Of course, I visited Documenta 15. Part of my family lives in Kassel, and we combine a family reunion with a visit to Documenta every time the exhibition takes place.
Experiencing an exhibition is completely different from inspecting or even judging it by media without ever having been there.

There are, of course, quite careful digital insights, e.g.:

Especially in the case of Documenta 15, many people gathered around the media echo and judgment of the journalists, the majority of them certainly did not visit Documenta either. Very unfair for the many artists involved who certainly feel stampeded.

An exhibition is an experience in space combined with a social walk-through. In the best case, lasting impressions are created. For example, I was deeply impressed by the orchestration of the group INSTAR from Cuba, Dialogue Kassel-Havana; there is also a great video I will not forget.

Instituto de Artivismo Hannah Arendt

Political art is certainly problematic in the narrowing down to a proclamation. This, however, is not a strong limitation in the individual work of art, also repelling visitors/audience.

I always remember the example of an exhibition in Heidelberg many years ago I was co-responsible for. We had guests from Switzerland who were very religious. At one work of art I had hardly noticed before, they burst into tears. Even now I remember the title: Jesus-Egon-Jegon (with little brown copulating figures). Fortunately, that was not the stamp of the whole exhibition. We were able to reconcile them.

Artistic freedom, that’s essential; otherwise you can forget art as a blueprint for the future.

But Bazon Brock gave me the essential hint: when I cut the connection between the individual artwork and the audience, I get into the problem of the political stamp.An artists’ collective with a political claim automatically enters the social discourse.

You have to take into account the taboos in the host country of the exhibition. There are taboos in Indonesia, too. Hammer and sickle is not acceptable there.

I asked an artist friend who lived in Indonesia for a long time: “Of course they are also anti-Semitic,” but actually it was mainly communists and Chinese who were killed there. But it doesn’t work very well in the exhibition concept.

Our taboo also is not always very well researched and reflected by the journalist community.
Ascent of King Richard I to the throne in London on September 3, 1189, a Sunday: “On Coronation Day, about the hour that the son was sacrificed to the father, the Jews in London began to be sacrificed to their father the devil, the fire sacrifice [holocaustum] not being completed until the following day.”[7]

We Germans did not have the idea, but we industrialized it, “Death is a master craftsman from Germany.” (Paul Celan)

And the master must also be liable for his craft. And that is why we rightly apply the taboo stamp.
The Ruangrupa collective rightfully deserves it, but not the many artists involved in Documenta 15.







Ukraine -> Україна

———— Filed under: Allgemein

Publ. 03.7.2022

YOURARTBEAT cannot be silent about the war in Ukraine.

Some of our artists are from Poland, Ukraine, and Russia. People and their art we have grown fond of. We would never exclude artists from Russia. We also do not ban Russian literature and music from our shelves, nor from our brains.
Violence threatens the lives of millions of people related to us.
And also specifically, we are without message by Kate Bortsova from Kharkiv.

The negative target point is clear, Putin pronounced in French is Putain.

My brain thinks of a play by Heiner Müller (text Maguerite Duras) and I have the words in my ear:
“La mort d’une putain. A présent nous sommes seuls cancer mon amour.”

The French are polite people, they write Poutine, which leads us to a Canadian national dish.

But when I think of Putin, I also think of Wagner, and Alberich, the dwarf from our sagas: „Gewänn ich nicht Liebe – doch listig erzwäng’ ich mir Lust!“

But what can be done instead of being silent or marginalizing?

We will start sequences in our podcast on the topic of “Heimaten” (homelands).
Homeland is neither a nation nor a common language. Why else should Russians shoot at Russians?
Homeland is a feeling of security within the family, with friends, also the fellowship in peer groups and a joint struggle for the future.
Also in the case of flight and migration and a hopefully temporary homelessness.

This is our topic, and we will present it not only in the Internet but also in exhibitions.


———— Filed under: Art ⁄⁄ Artwork ⁄⁄ Exhibition

Publ. 12.12.2016

#Night Hawk
Friday Evening at “Carlotta” Berlin Friedrichshain close to Ostkreuz station.
I spied this portrait of a lady never seen at former visits

It reminds me of a former friend now living in Switzerland, MONI.
MONI as a young woman would produce a mess every week. Perhaps because of her three passions: Drugs, Dream dancers and Doggystyle.

I asked the waitress: “Who did this?” She answered: “We don’t know. There were some guests who couldn’t stand the deco, an empty picture frame hanging on the wall, so they filled the gap with this mural”.


Berlin Street Art

———— Filed under: Art ⁄⁄ Artwork ⁄⁄ Exhibition

Publ. 12.12.2016

Today, Wednesday I gripped the difference between facade art/graffiti tags and real STREET ART, modern forms of ready made or objet trouvé.

In the middle of Berlin I discovered a smashing example of Polish STREET ART created by unknown artists for our understanding of the Theme: If you can’t join them, burn the “Mercedes Benz” and listen to the song of Janis Joplin: “O Lord could you buy me a Mercedes Benz”



Night Hawks revisited

———— Filed under: Art ⁄⁄ Artist ⁄⁄ Artwork

Publ. 12.12.2016

#Night Hawk
My name is Night Hawk, I’m the person, the “other one” – at the edge of
the restaurant.

The impacts of this artwork of Edward Hopper for my personality are best
formulated through the poet Wolf Wondratschek as followed:
After Edward Hopper’s Painting
– Wolf Wondratschek
It is night
and the city is deserted.
The lucky ones are at home,
or more likely
there are none left.
In Hopper’s painting, four people remain
the usual cast, so-to-speak:
the man behind the counter, two men and a woman.
Art lovers, you can stone me
but I know this situation pretty well.
Two men and one woman
as if this were mere chance.
You admire the painting’s composition
but what grabs me is the erotic pleasure
of complete emptiness.
They don’t say a word, and why should they?
Both of them smoking, but there is no smoke.
I bet she wrote him a letter.
whatever it said, he’s no longer the man
who’d read her letters twice.
The radio is broken.
The air conditioner hums.
I hear a police siren wail.
Two blocks away in a doorway, a junkie groans
and sticks a needle in his vein.
That’s how the part you don’t see looks.
The other man is by himself
remembering a woman,
she wore a red dress, too.
That was ages ago.
He likes knowing women like this still exist
but he’s no longer interested.
What might have been
between them, back then?
I bet he wanted her.
I bet she said no.
No wonder, art lovers,
that this man is turning his back on you.