| The
huge figures popular in the totalitarian states of the
20th century and the mass scenes that emerged with the
revival of history painting evolved to only
pseudo-creative representations in the face of the real
mass deployments and became obsolete like Boris Groys has
shown with the example of Stalin13,
who indeed seized the aesthetic overall assessment and the
total regulation of life and production. This thesis
lead to expressions of displeasure. Although today artists
no longer are working with a sense of being a creator the
impression seems to hold that artists still operate in a
non-cenceptual creative way. Because of this reason should
not only the exhibited works but also this aspect be put
up for discussion. I would be pleased when with existing
resources hopefully soon a blog of the EINSTELLUNGSRAUM
could also be established in order to discuss such
questions. |
Anyhow for me the indicated
relations here - conversion of waste to objects of art,
tipping of abundance to scarcity and difficulty of
creativity - constitute signals of an ongoing crisis of
representation. They lead to the insight, that next to
bio politics (genetical and medical technology) there is
a second string of development - that of
biological revolution triggered by humans but now
without a cultural intention leading to un-planned
changes of which consequences are not yet measurable. In
this situation artists are able to visualize the
catastrophe insofar as they are able to strip off the
buff from the societal circumstances.
|
| The 03th. exhibition in HYBRID EINSTELLUNGSRAUM e.V. | Vernissage |
| 13 Boris Groys: Gesamtkunstwerk Stalin (total artwork Stalin), München/Wien 1988 | |
| Supported by the department for culture, sports and media of Freie und Hansestadt Hamburg and district office Wandsbek | |
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