Concept art is actually good

DO I MAKE CONCEPT ART?

Transcript

1 Thilo Götze Regenbogen DO I MAKE CONCEPT ART? A consideration through eight work phases WV no. 882 Mandorla in Flames, 1969, colored pencil / paper, 16 x 21 cm, Courtesy Collection Otfried H. Culmann With an introduction to the 9th phase of the work and a comment on the field of culture of Jonathan Meese. 20 years room 1 issue 7 of the series PORTFOLIO by EygenArt Verlag

2 work life. This is a very brief insight into the forty-eight years of life of Thilo Götze Regenbogen (TGR) in a research-based art practice in Europe, mainly in Germany, occasionally in France or Spain, and regularly in Switzerland, illustrated with just a few examples. Such a scheme as the one presented here can only be excused for one reason: to offer orientation for researchers and collectors in a complete work that has not yet been completed and that has developed largely apart from the academic and marketable search for identity and self-assertion. It's a lot, but is it conceptual? Concept art, concept art or conceptual art was only introduced into the language of the cultural field of art in the 1960s by the artist Henry Flynt 1. When TGR began to paint and draw continuously in 1965, he was not familiar with this term. Even during the following decades, the expression actually played no role in his self-image. It was first suggested to him from outside, mostly by people who tried to classify his work in a conceptual framework that was thought to be given, without getting involved with the actual intentions of the artist and researcher, his subjects, methods and questions and without using appropriate terms develop. Nevertheless, a reference should be attempted here in such a way that in the eight work phases of TGR the meaning of conceptual concepts is asked. It will be shown that such conceptual ideas have almost always existed, but that this alone cannot plausibly justify assigning the works to conceptual art in general. In none of the work phases was it important to him to integrate himself into a given system of terms. The work development and production followed the current topics for the artist, the immanent rules and 1 Henry Flynt concept art, in: The Times Literary Supplement,, S Henry Flynt (born 1940) has dealt with philosophy, mathematics, economics, music and visual arts, belonged to the opposition left in the US and is associated with conceptual art and Fluxus. He coined the term Concept Art as early as 1961 (Wikipedia page Henry Flynt on the Internet, see also: Conceprt Art, in: La Monte Young (Ed.), An Anthology, New York

3 Laws of the repeatedly used artistic means and media. Much more decisive, however, was and is the parallel research work in philosophical, spiritual and scientific fields, which is often directly linked to the pictorial themes and objectives of the artistic work processes. Similar to conceptual art, the basic intellectual work is important to TGR. However, it is never just rational thought acrobatics or speculation and is not isolated in the art field, its scope is not limited to statements inherent in the work or art, but generally extends to several cultural fields such as social politics, ecology, religion and / or cultural history. 1. Early experimental work () in all techniques. Even the early work showed a wide range of means of expression, the basic lines and polarities of which were figurative-non-objective, expressively-geometrically structured, planar-spatial, planned-random, apparently visionary or fluidoid-crystalline in the entire oeuvre of the following period. In addition to the overabundance of inner images and experiences, the appropriate artistic means are sought, explored and tried out. There is a high degree of simultaneity in daily work. While the graphic is drying, the drawings are being worked on. If the ink is still liquid on the sheet, a meditation session based on the ragas by Ravi Shankar is inserted or contemplated further on the verses of Lao Tzu. An international correspondence begins, which continues to expand in the subsequent work phase. The Indian and Chinese wisdom tradition is explored, spontaneity is very important. In Kaiserslautern the study of commercial graphics is started and the artist group Phönix Omnibus is founded. A multitude of influences and methodological tips, including questions of a radical democratic nature, need to be dealt with in a climate of self-questioning and protest against social conditions and mentality structures that have become too narrow. Time for experiments not only in the artistic! The early experimental work ends where the inner commitment to Buddhism takes place, where the move to the new 3rd

4 studio apartment in the Kurgartenstrasse 1 of Bad Dürkheim an der Weinstrasse has been completed, where the readings, Kaiserslautern's training influences and artistic experiences have been processed to such an extent that a more targeted approach can be taken according to an open, but decidedly formulated spiritual, philosophical-scientific and artistic concept . But it is never a purely artistic concept, since every form of l art pour l art has always been of no interest to TGR. Thilo Götze Regenbogen, o.t., woodcut, year 2512 / Buddhist early work / Extended concept of religion () Already in the experimental work phase it became clear: The artistic means enable different expressive languages ​​for what has been experienced and create experience conditions for the viewer of the works themselves. This experience cannot be grasped deterministically and therefore 4

5 open-ended like the work itself in the process of creation. The restriction to only a few or a single topic does not appear to be desirable. The development of a personal style is also not sought, since every situation and task requires its own means to cope with it. After the search for knowledge and wisdom research in 1968 led to the conviction that Buddhism forms the adequate religious-scientific-artistic basis, the early Buddhist work in the explicit sense is initially based on studies of Asian art from all relevant countries and on the Buddhist wisdom tradition. Zen art, calligraphy, thangka painting, mandala composition and figurative forms of Buddha and Bodhisattva representation are tried out and often combined. The term cipher plays a major role. Orientation towards just one of the Buddhist art schools does not appear to be desirable, since we in Europe can be heirs to all of Buddhist art and not just one school. Simultaneously there are influences of the Western Art Brut, the Fantastic Realism of the Vienna School, the sculpture of the mentally ill and others. verifiable, all of which play a role in the respective work conception and artistic execution. The establishment and development of a Western Buddhist art practice is being worked on with great enthusiasm. The bond with a single Buddhist school (the order Arya Maitreya Mandala of Lama Anagarika Govinda) is abandoned around 1972. The approach of a critical theory of the subject pursued in one's own spiritual, artistic and scientific practice promises the merging of one's own social engagement in the New Left, which has become more important, into a concept that programmatically grasps comprehensive human emancipation across cultural fields. Just as in the second half of the 1960s artistic practice across styles and methods was the focus of free work, it is now about a bundle of society-related practices, which promise to abolish the cultural field separation in the overall effect. This is explicitly understood as an immanent criticism of Buddhism, too, where it deals with bourgeois forms of life 5

6 tried to train as system stabilizing. Liberation is understood as indivisible. 3. Ars phantastica / Fluidoide Phase I () Horst Janssen, the painters of the Vienna School and influences of the Kaiserslautern teacher Helmut Göring are just as relevant at this time as the first occupation with Hundertwasser. Work and friendship in the artist group Phönix Omnibus are central in the first few years. This also has an impact on printmaking. In the picture at hand, ars phantastica and the first Buddhist work cycle penetrate each other in a profound way. Buffalo / bison, swan and Buddha and a text excerpt are interwoven: Thilo Götze Regenbogen, WV-Nr. 687, Swinsian, Etching, 1968 That the early Buddhist work begins later and ends earlier than the work phase of the ars phantastica makes it clear that during the 6th

In the core period, both phases run simultaneously and in a variety of ways, and the ars phantastica forms the determining artistic attitude during this time, while Buddhism offers the religious orientation that art cannot fulfill. In terms of external impact, for example in the case of exhibition participations at this time, this means, for example, that the artistic viewer perceives something that the criticism of the so-called literary in modernity has seen as an accessory to be removed and that the Buddhist-oriented viewer with symbols and artistic process is confronted, which he cannot classify as traditional Buddhist art. It is precisely this field irritation that is the hallmark of a field liberator work of art. In general, an and is effective in all work phases at TGR, which shows that none of the cultural fields, whether religion or politics, art or science, can ultimately give satisfactory answers to the basic questions of life. The result is always a variant of piecemeal, which in turn requires assembly techniques in order to test possible combinations experimentally in search of a new whole. This can be achieved in a number of ways. In this phase, with the influence of Hundertwasser, artistic processes are being tested, which are referred to as fluid, flux or fluidoid and are philosophically linked to Taoism, which was explored from 1965 onwards. The flowing energetic formations are tried out, initially because of the strongly graphic orientation of the entire previous work of TGR as clusters of lines, spirals, parallel circles. There is also a strong symbolism at work, which provides orientation in overview sheets with symbols and signs that appear to be suitable, and draws on interreligious contexts, for example examining the cherub symbolism by Ernst Fuchs for transferability into the Buddhist field. There is something dreamy about the whole cycle, close to fairy tales and fantasy worlds, which opens up alternative ways of exploring and shaping the world, especially at the time of the rise of scientifically based technologies. The 7th

8 Dealing with the sculpting of the mentally ill and studies on the effects of mind-expanding drugs belong to this period. Thilo Götze Regenbogen, Der Wekrautkultur-, Wildwuchs- and Meadowculture- stickers on a folder of the Thilo Götze Regenbogen collection, 1982 / Fluidoide Phase II / Extended Ecological Concept (): With the Hundertwasser reception from 1967 onwards, nature and comprehensive appear more strongly ecological issues in appearance, for example revolving around the imagery of the tree. Conceptually, the spiritual-ecological-political-artistic field connection becomes clear in manifestos and actions: Gypsy forest actions, the measure, participatory culture actions, a successful sticker series, posters, postcards

9 Commitment accompanies and penetrates. The exploration of the fluidoid parts of the world is central to painting and printmaking. At the same time, the ecological and peace-political commitment is expressed in projects, campaigns and manifestos. A wide range of stickers is also achieved through a series of stickers in the school course work that begins with the traineeship in Frankfurt am Main and through exhibitions in the Rhine-Main-Taunus region and in Hamburg. Extensive travel activity leads to an abundance of presentations at seminars and conferences and touring exhibitions in academies and conference centers, as well as at meetings of citizens' groups. The involvement in the citizens' initiative movement, the development of our own artistic-spiritual forms of action in an ecological context, the resumption of in-depth spiritual and Buddhist studies, the establishment of our own offer of courses and meditation days in Hofheim am Taunus and Dortmund, as well as at conference centers, the elaboration and Publication of the EygenArt Manifesto, lectures and readings form a rich field of experience and impact that is supported by dedicated programmatic texts and published concepts. However, these do not focus on words as otherwise empty elements of an artistic language, but rather address very specific problems in the context of cross-field consideration and the search for solutions. In connection with Joseph Beuys’s extended concept of art, the extended concept is transferred to all relevant cultural fields, as already formulated in the EygenArt Manifesto (1981, 1985). 5th Crystalline Phase (, 1993): In this part of the work, the large pastel cycles (Lanzarote cycle, Maltese cycle, etc.) are created. During the time of the Hofheimer Freiraum Stille and the Mörfeld Atelier, extensive studies of Vajrayana Buddhism, the Shambhala teachings and macrobiotics, as well as the beginning of larger cycles in pastel technique, mostly on black paper. The exploration of the crystalline parts of the world becomes central and is accompanied by extended course work (own retreats, meditation days)., With the new artistic means, elements of cosmological symbolism, 9

10 as they already played a role in the first three work phases of TGR, expanded to include new areas of experience. The animal cycle emerges and, in dealing with the devastating consequences of ecological misconduct, the Valtellina cycle. The Steinberg cycle addresses the destruction of orchards in order to create building land for luxury villas. The award-winning cycle The Surveillance State takes up the current disputes about the so-called transparent citizen. Thilo Götze Regenbogen, Lanzarote Cycle (, three of 27 works), pastel on black paper, art collection of the municipality of Kriftel am Taunus, Photo: Thilo Götze Regenbogen Room 1 / Extended Art Concept / Modern Buddhist Art Network (/) This is the time for deepening the humanities and the beginning of the Dzogchen studies, the elaboration of his own version of the expanded concept of art (Beuys) on a Buddhist basis. The experimental work in actions and performances, the expansion of the lecture and 10

11 courses and the continuation of the work with modern buddhist art (1969, 1989 ff.) Form the focus of the own engagement in the established room 1 research institute for contemporary art in Kriftel am Taunus. Although Joseph Beuys TGR has been known since around 1967, the activities and works perceived at that time only had a strong inspirational effect on continuing on one's own path, but not as a role model or exemplary in artistic terms. This changed in the period from around 1989, which also marked a crisis in the opportunities for expansion and the severe curtailment of one's own economic resources. At the same time, however, inner forces are effective that lead to the deepening of spiritual studies and new friendships can be made, which bring great encouragement and inspiration. The result is, among other things, the increased reception of Fluxus and a strong commitment in the municipality of Kriftel for a new art forum program, from which the core group for the foundation of room 1 will ultimately emerge after the conclusion of the cycle of the Lotos studios (). Artistically, this means for TGR the development of new means of expression, which are tested in multiples, editions, installations and actions. For a while, the support of the municipality of Kriftel also allows other artists to be invited in room 1 and for the lecture and exhibition program (over 50 exhibitions and more than 1000 events by 2003). Spiritually and with regard to the cultural field work, this time marks the beginning of extensive research and course work on an expanded basis, which leads to the emergence of the Buddhist ecumenism of impartiality (ca). Three book publications and numerous book and magazine articles arise in this phase. A wide range of objects, posters, postcards, prints and editions, installations and, finally, ink ciphers during retreats and meditation days are created in artistic cycles and work groups. Room 1 Kriftel and its room segments such as e.g. the room 1 Gompa or the south wall become a legendary place of high energetic charge and charisma. 11

12 7. Fluidoid phase III (from 2000, more clearly since November 2001) In this ongoing creative phase, the continuation of fluidoid design means in new small-format cycles (watercolors and mixed techniques with acrylic paints, own and acquired pigments) can be observed. There are also influences from ink ciphers that were resumed at the same time and that emerged as part of the Buddhist retreats as they have been since the second half of the 1990s.Calligraphic and painterly languages ​​flow even more closely into one another, open-ended. A series of annual CopyArt calendars is created in which topics from the previous phases are taken up again and condensed. Since the move from room 1 to the new location in Hofheim am Taunus, the exhibition activity has been continued in specially designed room 1 Akzent and after 2010, the publication of the basic work Feldbefreier, the so-called field liberator showcases, which each selected artists from room 1 research field and since 2011 also selected works from the artistic work of TGR every year. From 2012, themed showcases will complete the differentiated range. 8. KANBAN (notations and deletions): works on paper, copy art, objects, installations (since 1968 single sheets and work groups; work cycles since) In these work groups, so-called only since 2005, everyday practice, research, project work and cipher form flow together most strongly. Task slips, drafts with sketches, notes (Kanban) become iconoclastic ciphers (deletion of tasks after completion with different colors and shapes). From April 2009 development of the sub-cycle Free Maps, which combines scriptural, landscape, topographical and fluidoid content and means of expression. Until 2012 further sub-cycles in larger formats, multiples, objects and the transfer of Kanban technology to these media. The main part of the work phase will be completed at the end of 2012 after several thousand works (the majority not yet recorded in the catalog raisonné) have been archived. 12th

13 9.BUDDHA MODERN GLOBAL: The late Buddhist work (since 2000). Different sub-cycles: Gates, Buddhas, Darumas, ciphers, mandalas, meditation objects, retreat cycles (all techniques). This, for the time being, last creative phase runs parallel to the seventh and is very closely linked to the current research work, which goes back to the early years in Bad Dürkheim and works on both traditional and new tasks. From October 2011 to March 2012, the selection modern buddhist art 3 in room 1 Hofheim was shown in TGR's second work showcase. An extensive book expose was drawn up on the research field itself. Thilo Götze Regenbogen, modern buddhist art 3, 2012, Room 1 Hofheim, Photo EygenArt Verlag 2012 Concept art? An artist for himself cannot develop a concept of style that applies to anything other than his own work. In order to be able to do this, he would also have to be a scientist, which artists are or want to be in the rarest of cases. Like other general 13

14 griffe actually only says conceptual art that the conception of an artistic work should be given special weight or that the conception and its results are themselves to be ascribed the character of a work. Henry Flynt suggested in his 1961 essay that language and concept could just as much be material of art as sound and noises in music. In his text, he explicitly defines Concept Art as the art form in which language is the material. Likewise, in the course of the 20th century, other components of the work's constitution were determined to be art objects: the materials, the performative process, the artist himself, the space in which something is created, the light and much more can, under certain conditions, assume the character of art or be ascribed to them . But that means nothing more than that elements can migrate from one cultural field to another or are shifted and the field in question thereby expands in its means of expression. It does not yet mean that with this shift or overwriting with new meanings, something else significant also happens. For the time being, or perhaps forever, it only remains of importance in the field of art itself. On the other hand, TGR almost always depends on what is important in other ways as well. Conceptual art is said to have historically emerged from abstraction and minimalism. Tendencies towards abstraction, such as the artistic means of cubism, and means of expression of minimalism, for example in the color field actions, also appear in the work phases of Thilo Götze Regenbogen, but they are in a different context. On the one hand, there is a common ground for his work with abstraction and minimalism, as described in the theoretical work of the artist and scientist TGR as a wisdom tradition in modern and contemporary art. On the other hand, the number of nine work phases to date and their different characteristics make it clear that the artist is not interested in the development of a single artistic signature and market identity, which would then exclude all other means of style and expression. All of his work is research and integration. Not even the excluded are excluded; only their hegemonic gesture is ignored. 14th

15 In 1966, Mel Bochner's exhibition Working Drawings and Other Visible Things on Paper Not Necessarily Meant to Be Viewed as Art 2 takes place in the gallery of the New York School of Visual Arts, which is considered to be the first presentation of conceptual art. Whether something is perceived and evaluated as a work of art usually depends on the context of the presentation or on its use as an artistically known means of representation such as oil paints, brushes, collage paper or canvas in a more or less conspicuous frame that separates the whole thing from its surroundings and highlights. A collection of different objects in a gallery exhibition as a whole is still an offer in the cultural field of art, even if some exhibition components should not be intended as art objects or as aesthetic by the artist. Such expansions of the field of vision and meaning have constantly taken place in the art of the 20th century. In the course of the nine work phases of Thilo Götze Regenbogen, the framework and context of the work presentation and also the criteria according to which something is determined as being in the art context are constantly expanding, but little changes in the intention of creating art, in the engagement in the art field itself . Even if the concept of work goes through manifold changes, it always remains a concept of work. Even if the concept of art is expanded, the hope for the explicit artistic potential in the context of cultural field work (ecology, religion, politics, science, etc.) remains, and even expands into areas that were previously not explored. Even the eighth phase of everyday notations, work notes and lists with their characteristic deletions to overpainting transfers everyday actions into works of art, which this reference character to the cultural field action in everyday life explicitly and in a special way makes. As a rule, Thilo Götze Regenbogen does his work himself. Even if he creates hands-on activities, he remains an artist himself and creates his own works in them. So it is not indifferent to him, like many conceptual artists, whether others create his work according to his instructions or he himself. With this in mind, the artist has 2 key words conceptual art on the Wikipedia page on the Internet

16 does not give priority to concept and idea, but rather the resulting self-created work - even in the case of installation, action or performance - remains his decisive contribution, which no one else can relieve him of. The involvement of the viewer is only important to him where his participation is an express part of the conception. The so-called dematerialization of the work of art is not as important for him as it is for some conceptual artists, since he already starts from immaterial levels of being and meaning, which should materialize in the work of art. Thilo Götze Regenbogen does not follow the dualism of matter and spirit as he shaped the Christian cultures, but rather matter is spiritual manifestation for him and spirit manifests itself as matter. For him, working with contexts, meanings and associations is a natural part of every artistic practice and must not be detached from the work, as the resulting object loses its strength and ultimately only becomes an expression of a few reflections or becomes completely empty of meaning. The concepts also lose their persuasiveness because they are released from the context of realization and put into circulation as abstract word art works. The rationalism that is expressed in such an approach is alien to Thilo Götze Regenbogen. His aim is to use the potential skills lost in the historical process of rationalization and mechanization, e.g. to bring fantasy and imagination back into a comprehensive concept of reason with artistic means. In the opinion of TGR, a demarcation from gimmicky art such as Marcel Duchamp, who is considered the father of conceptual art, should be achieved with more profound artistic means and by referring to non-artistic cultural fields and not through conceptual art aesthetics. Nor can it be a question of placing the main emphasis in the perception of art on thinking, since this only cements those relationships in the head which have emerged from the historical process of rationalization and mechanization and which contribute to the further impoverishment of the spheres of experience. Art in particular has originally special tasks that cannot be fulfilled in the same way by other cultural fields. 16

17 Note on Jonathan Meese. In the context of the foregoing considerations, here are a few remarks that allow the confusion of terms surrounding the appearance and work of this contemporary artist to be cleared up, if not to be eliminated. I had the opportunity to speak to Jonathan Meese at the Schirn Kunsthalle Frankfurt in the context of his large exhibition, and have since seen numerous films about and with him, viewed works and installations, and read his writings. A detailed review of the latest legal dispute about his provocative gestures in the features section of ZEIT 3 now provides a very good presentation of the problem, from which only the relevant conclusions have to be drawn here, which is why these are also at the end of the whole text. No matter how unconditionally Jonathan Meese behaves: he acts in the conditional and his thoughts as well as his works remain stuck in the field of art. Like a high-quality vacuum cleaner, it collects even the smallest dust from the changing world in its bag, except that this bag is then not given to the residual waste, but in art exhibitions. Whether words like Isis and Osiris, Celts or Germanic peoples, Egyptians or swastikas land in this bag must actually be indifferent to him, because he is the exclusion of images and concepts, ideas and religions, of the spiritual and of knowledge, of experience and conclusion, of the Ability and temporality from the domain of art and demands a so-called dictatorship of art from such a stripped-down sphere. Whether he is saluting, showing the so-called Roman salute of the Hitler era or holding a swastika between his lips, the sole purpose of this is to generate attention through provocation, because these formerly animistically charged symbols and gestures promise gain in the media spectacle, precisely because they are prohibited by law (86a StGB). If he claims that the Hitler salute is a pure muscle movement for him, this supports our thesis that what he is doing is meaningless. It's only about 3 Hanno Rauterberg, He just wants to play, in: DIE ZEIT No. 33,, p

18 Attention, which actually leads to nothing, because nothing was really meant more than look, don't zap any further, listen to me, etc. As an installation visitor, you look astonished or disgusted at the walls, dwellings, objects and smeary things Inscriptions and hopes at least for a certain experience value, which is mostly not achieved. This comes from the vacuum cleaner principle: everything is the same in the garbage bag. This comes from the process of mixing up carriers of meaning without regard to their provenance, which ultimately completely nullifies the meaning and creates a kind of noise in which the individual words have lost their recognizability and context. Since Meese appears as an artist and not as a vacuum cleaner representative, he presents his senseless hodgepodge in an art context, which indicates that spectacular performances, provocations and the exhibition of mixed pickles must be in the right place there, because today a main argument that comes from the market he is successful with collectors, galleries and museums. In a historical phase in which the market value, at least for many recipients, is identical to the total value of an artist and a work of art, Jonathan Meese has thus won, one might think. It is unfortunate that it takes a Kassel judge to ask what is meaningful about Meese's art, what provides knowledge and what is conducive to the development of art. But it is also typical that this is presented by a representative of legal life, as Steiner would say, because one hears these questions about the ignorance of the situation. This situation is determined by the hegemony of the market. What sells well is viewed as significant, because it benefits everyone who (wants to) deal with the artist in question in the art field and the media that report on it. Anyone who benefits in this way will only offer marginal or no criticism, unless this also promotes market value. It is completely irrelevant whether the works of such an artist give rise to a claim that is already quite meaningless in itself, and it can also be completely irrelevant to the artist, 18

19 whether a development of art, whatever that is, is promoted by him or not, as long as the hype about his deeds and works continues. When I met him in Frankfurt, I was most enthusiastic about a large group of head sculptures, which for me are the best ars phantastica. I could easily agree with his sayings, since they amounted to nothing more than the constitutionally guaranteed freedom of art, which one no longer has to call an achievement to demand. To roam the premises and installations he created for the first time was: see above. It is the right of a judge to ask about the art and its contents as it is everyone's right. Freedom such as usefulness or uselessness cannot be determined across the board and once and for all, but must be worked out over and over again. The concept of autonomy serves more as a barrier and is not exactly conducive to knowledge. It is not infrequently just an excuse or a protective claim. To explain this to the essence of art is as hollow as it is meaningless. If the meaning of art no longer consists in its statements, gestures and atmospheres, but only in the freedom to proceed as you wish, then this freedom is a bogus and not worth its term. Ultimately, the fight for freedom and that of art was successful because it was about expressing something, showing it, producing something that was supposed to be manifested in this way because of its content. The works of art should make it clear, even if it is in a dispute, that they deserve the freedom to which they owe themselves not alone, because it is always about the artistic ability, about a specific bundle of skills that is used during the creation of the work. Scandalizing art as an end in itself tends to hide the hollowness of the statement. No wonder, then, that after this theater, Meese was called to the theater. Jonathan Meese fits one hundred percent into what is called contemporary art today, a curatorial construct that says nothing more than the word suggests. The vehemence with which he represents his cause astonishes and attracts attention. But that shouldn't hide the fact that nothing new is at stake anywhere. The unity of art and life as a social, 19th century

20 So political demand justifiably aroused the suspicion of totalitarian intentions and was subsequently at best individually feasible or, as in the Nazi regime, led to the downfall of both art and life. When Meese now speaks of the dictatorship of art, this is initially just a striking gesture like his Hitler salute, see above. Such a dictatorship cannot exist because no cultural field can become the superpower over the others, least of all art. You can supply the market with this requirement for an artist's life, as long as you also produce goods and not just make slogans. Hanno Rauterberg has well characterized the sharp contradictions in Meese's appearance and work and they therefore do not need to be repeated here. Jonathan Meese is not a boundary breaker, because he already finds everything as he demands it. He only needs to meet the demand. If he also thinks what he can obviously avoid, he could not throw such masses on the market. Meese is a border guard insofar as he wants to throw everything out of art that, in his opinion, does not belong there, see above. But that has been the basis of l art pour l art since Cézanne and was still a historically necessary requirement over a hundred years ago, which today, see cultural field problematics, definitely falls short. If under the dictatorship of art nothing is supposed to have any more meaning than the art created then, this paradox shows that we are confronted here with a phenomenon for which Joseph Beuys found the formulaic phrase: whoever does not want to think flies out (yourself).Meaning cannot be attributed to the productions of a cultural field alone, but such a state would be characterized by the loss of all meaning and this is precisely the characteristic not of our biosphere, for the evaluation of which the various cultural fields fight with each other or against each other, but of the greater part of the production of Jonathan Meese. We don't have to fend off its supposedly happy throttling of the world, we just withdraw our attention from it, as an expression of our 20

21 free decision and of course after dealing with the views of the candidate, behind which, however, more megalomania than size can be assumed. It has now become systemic, so that Jonathan Meese has to be seen simply as a symptom carrier from the art sphere, who tries to preach into other cultural fields and is angry to meet other preachers from other field cultures who also say more or less do less success. EygenArt Verlag in room 1 Hofheim am Taunus, October Inquiries by mail to 21