VON ANTONIA BISIG

Für mich gilt seit Beginn meiner künstlerischen Tätigkeit, dass ich Kunst sowohl als eine Form der persönlichen und gleichermaßen gesellschaftlichen, im weitesten Sinn politische Äußerung und Reflexion ansehe, dass sie emanzipatorisch wirken kann, wenn sie es schafft das Individuelle und das Allgemeine zusammen zu bringen wie auch immer. Das kann ganz subtil geschehen wie z.B. beim Werk von Meret Oppenheim oder relativ offen in wunderbar künstlerischer Sprache wie bei Robert Gober oder William Kentridge. Weiterlesen

BY FRANS JACOBI

Welcome, please come inside. What we are going to do now is a kind of participatory performance. Oh, My God, you may think. Am I now to perform myself? What I want you to do, is to lie down on your back and close your eyes. All of you – in this space. This is actually the only act that you are going to do, it’s not more difficult than that. This is perfect. Thank you very much. Okay, then I need you to close your eyes. Welcome. Relax. Weiterlesen

BY WALDEMAR WOJCIECHOWSKI

I CAN SEE, © Waldemar Wojciechowski

The formulation I CAN SEE (WIDZĘ in Polish) has been written in Braille, photographed and printed. The absurdity of this treatment is a reflection of the notorious sense of the absurd, which I experience as the author of visual messages. My artistic experience shows in fact a serious lack of preparation vast majority of our society for the reception of contemporary art, and my teacher experience of the Art Academy deepens this conviction.

I CAN SEE – put it simply – means that the potential recipient, in order to understand the messages of contemporary art, should know its language.

Photographing Braille signs is absurd, like it would be a photocopy or other form of flat reproduction. Putting these photographs at the museum exhibition (prohibition of touching the exhibits!) further emphasizes that absurd.

 

BY MACIEJ TOPOROWICZ

 

In the early 1960s, having just come over from the GDR, I naturally declined to summon up any sympathy for the aims and methods of the Red Army Faction [RAF]. I was impressed by the terrorists‘ energy, their uncompromising determination and their absolute bravery; but I could not find it in my heart to condemn the State for its harsh response. That is what States are like; and I had known other, more ruthless ones. The deaths of the terrorists, and the related events both before and after, stand for a horror that distressed me and has haunted me as unfinished business ever since, despite all my efforts to suppress it.

Gerhard Richter

French police inspect car where body of murdered industrial leader Hans Martin Schleyer was found.
French police inspect car where body of murdered industrial leader Hans Martin Schleyer was found.

 

Martin Schleyer, 2017, inkjet on paper, dimension variable
Martin Schleyer, 2017, inkjet on paper, dimension variable

 

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VON RAINER GÖRSS

Kunst hin oder her, es geht wohl im Kern um Fragen des Sozialrassismus, wenn irgendwo der Hund begraben ist – ist da für mich wohl des Pudels Kern. Bis hier das  was ich soweit gestern schrieb, nach den Weihnachtlichen Anschlag Ereignissen am späteren Abend, bin 
ich mehr denn je davon überzeugt das eine Symptombeschreibung über das Teilsystem Kunst als Ansatz eigentlich nicht mehr ausreicht…was paradoxerweise wieder in die Kunst führt, da die Sprachen der Politik extrem Interessen – kontaminiert sind… Weiterlesen