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LernenTranskript
00:00Every person is an artist.
00:02This is what Josef Beuys says in his anthropological theory of art,
00:06the man, who, in a fishing vest and crumpled in a felt hat, lacked understanding of that,
00:11He has expanded the definition of what art can and should be like almost no other artist.
00:17His anti-academic, anti-traditional, and social-revolutionary theses provoke
00:23and in their radical absoluteness at the beginning of the 1960s
00:28in the young Federal Republic of Germany it struck a nerve.
00:31Beuys divides, provokes, and is both revered and reviled.
00:36While some see him as a shaman and visionary,
00:39who wants to heal society through creativity,
00:42Others mock him as a charlatan, whose works,
00:45often consisting of grease, felt, or supposed waste,
00:49to cross the boundaries of good taste.
00:52And yet, in postmodernism, Beuys' approach is somewhat out of fashion.
00:57to the central motif of Christian doctrine of salvation, the crucifixion,
01:01no mocking provocation by the artist,
01:04but rather an expression of his deep spirituality.
01:29One thing must be said critically from the outset.
01:32Josef Beuys' artistic work is based almost entirely on a system he created himself.
01:37and propagated biographical legend and an inextricably intertwined mythology.
01:44Born in 1921 in Kleve, Lower Rhine region,
01:47Hitler's versatile and interested youth, Beuys, experiences this after his emergency high school graduation.
01:50as a volunteer for military service as a radio operator in a dive bomber.
01:55A crash over Crimea in 1944
01:59Beuys later transformed this into the central founding myth of his work.
02:03Throughout his life he maintained,
02:05Having been rescued by Tartars after the crash, seriously injured
02:08who repeatedly rubbed his body with fat for eight days
02:12and wrapped him in felt to warm and heal him, thus saving his life.
02:18Historically, this idealized portrayal has been very clearly refuted.
02:22However, it clarifies how and on what basis Beuys used the materials fat and felt.
02:27will develop the cornerstones of its material semantics as symbols for protection, energy and heat.
02:35During his sculpture studies as a master student under Ewald Matare at the State Art Academy in Düsseldorf
02:42Beuys began exploring this topic early on in drawings and sculptures.
02:45with a mystically influenced Christian-religious imagery.
02:48For example, in the Sun Cross created in 1947 or his Pietà from 1949-50.
02:57This topic also repeatedly touches upon the unresolved traumatic experience of a plane crash.
03:04In 1954, Beuys suffered a severe depression,
03:07which he finally obtained after various stays in psychiatric clinics
03:11It can only be overcome by fleeing to friends in the countryside.
03:15He himself says that something inside him had to die during that time.
03:19According to Beuys, the initial process was a general state of exhaustion.
03:24which, however, has reversed itself into a veritable state of renewal.
03:29This idea of a spiritual rebirth becomes the central driving force.
03:33his further artistic thinking and work.
03:37In 1961, Beuys took over against explicit resistance.
03:41his former teacher Mataré, the Düsseldorf chair for monumental sculpture.
03:47There, Beuys, deeply rooted in anthropological ideas, developed
03:51his expanded concept of art.
03:53His vision of social sculpture states that
03:57that every person through their creative power
04:00can contribute to shaping the physical, social and aesthetic environment.
04:05A thought that his famous, often deliberately simplistic
04:09dictum shortened to the first part of the statement
04:11The idea that "every person is an artist" in the sense that they can create something culminates in the statement: "Every person is an artist" in the sense that they can create something.
04:16It is precisely this understanding that increasingly brings Beuys into conflict.
04:21with the faculty of the Düsseldorf Art Academy
04:23and the state government that finances diesel.
04:26His decision to study in the summer semester of 1971
04:29against the express will of the university,
04:32the 142 rejected applicants
04:36to include in his course
04:38is due to the anti-elitist basic statement
04:41to the education policy scandal.
04:44A year later, he was
04:45the world-renowned artist who has been regularly present at Documenta since 1964,
04:50The Minister of Science terminated the employment relationship
04:54and Beuys loses, albeit only temporarily,
04:57his professorship.
04:59Beuys' socio-political work
05:02and not be swayed by a grassroots-democratic understanding of art,
05:07is fighting for his professorship,
05:08leads, especially in a public and high-profile manner,
05:12Discussions with representatives from politics and business,
05:15but also with groups of pupils, students,
05:18Squatters, theologians, or housewives.
05:21As a visual artist, he remains commercially successful.
05:25Josef Beuys was also present,
05:27For example, he exhibits alongside Andy Warhol or Robert Rauschenberg.
05:32Special attention and for the development of a human-centered approach
05:36instead of urban planning geared towards automobiles, which has particularly far-reaching consequences,
05:40is his Documenta 7 project of 7000 oaks, which he began in 1982.
05:46Programmatic subtitle: City Administration instead of City Administration.
05:52Beuys, who is now also directly politically active in the still young Green Party,
05:57Plant together with others, social plastic, that is.
06:00as part of the art exhibition on the reclaiming of urban space
06:04as a living environment in the streets of the city of Kassel
06:07more than 5000 trees, each complemented by a contrasting basalt column.
06:12With them, the artist creates a monument to his conviction.
06:15that the personal liberation of the individual human being
06:18inseparable from the liberation of all humanity
06:21and is connected to the plant and animal world.
06:24It is precisely this connection, according to the artist,
06:26However, it was interrupted by humans.
06:29Beneath the surface of the social sculpture represented by Beuys
06:33It has a deeply rooted religious and spiritual foundation,
06:37whose aesthetics are inextricably linked to its Christian character on the one hand
06:42and a form of shamanism specifically lived by the artist
06:46on the other hand, it is connected.
06:48Specifically, a religious-magical intermediary system
06:51between man and the forces of nature.
06:54Humans can also speak to beings,
06:57which are higher than his short-term, purely intellectual understanding.
07:02He can get in touch with his self,
07:05He can speak with an angel
07:07And thus the image of man extends to the concept of God.
07:12And I don't want to keep it so small,
07:15how materialism has shrunk it.
07:18Beuys' statement
07:19"Man must rise again"
07:21It combines shamanic ritual
07:24and Christian hope of salvation in the thesis,
07:27that man through art
07:28must find a new form of existence.
07:31In this resurrection process
07:33he himself takes on the role of a shaman,
07:35which bridges the gap between the acquisitive rationalism of modernity
07:39and the archaic forces of nature
07:41seeks to bridge the gap.
07:43The artist acts as a mediator and healer in this process.
07:46a society perceived as sick.
07:49Beuys' preferred working materials,
07:52Fat as an energy source and heat storage medium
07:54as well as felt as an insulator and protective space,
07:57In this context, substances are
08:00Elixirs of a ritual practice,
08:02which the metaphorical process of warming up,
08:05the mental and emotional revival of the person,
08:09should initiate
08:10about the death state of a materialistic society
08:13to overcome by unleashing individual and collective creative freedom.
08:19Joseph Beuys himself died in 1986 before completing this idea.
08:24so impressively symbolizing the mammoth project of 7000 oak trees.
08:30The last tree is planted by Beuys' own son Wenzel.
08:33Planted as part of Documenta 8.
08:35Thus, the 7000 oak trees
08:38the only one spanning two editions of Documenta
08:41and this work that connects them so directly in terms of content.
08:46The crucifixion from the years 1962-63
08:50takes place in Beuys' quite complex and controversial oeuvre
08:54a special position
08:56as it incorporates a central motif of Christian iconography
09:00and translated into a particularly unexpected language of forms and materials.
09:05The work, now in the Staatsgalerie Stuttgart,
09:08It eludes comprehension at first glance
09:10any conventional expectation of a sacred representation,
09:14Its appearance raises the fundamental question,
09:17how such a fragile object can be made from banal everyday materials
09:21the deep spiritual and existential dimension
09:24intended to convey a religious theme that is thousands of years old.
09:29That may be the case at first glance.
09:31and without considering or knowing Beuys's positions
09:34even appear disrespectful.
09:36The artwork is approximately 40 cm high.
09:39a rather small-format assembly,
09:41which consist of a wide variety of,
09:42disparate materials
09:44Wood, two glass bottles,
09:46electrical cables, wire and paper,
09:48is composed of
09:50The individual components are worn out,
09:52dirty, showing signs of wear and tear.
09:56Disposable material from a throwaway society.
09:59The design is characterized by a stark simplicity.
10:02On the wooden plinth
10:04a board apparently used as construction timber
10:07a plinth rises,
10:09roughly assembled from a smaller,
10:11crudely nailed board
10:12and two worn square timbers,
10:15torn, broken, soiled with paint residue.
10:18The dull grey and brown of the bottles
10:20The weathered wood also dominates the color scheme.
10:23and reinforce the impression of transience
10:25everything physical.
10:27A vertical axis protrudes between the vessels.
10:30a mast up high,
10:31made from two narrow,
10:33uneven ledges,
10:34tied together with cable remnants.
10:37A rusty nail protrudes from its upper end,
10:40on which a bent-over
10:41and is attached to a twisted wire,
10:44from which in turn a loop
10:46attached to a thread at its end
10:48a sewing needle hangs vertically like a plumb line.
10:51At the very top of the mast, you will find,
10:54seemingly stuck
10:56a roughly rectangular torn-out shape,
10:59with a reddish-brown cross
11:00painted newspaper clipping.
11:02To the left and right of this slim structure
11:05two originally brown ones can be found,
11:07Bottles that appear squat in shape.
11:09They are unevenly coated
11:11of a mottled-opaque,
11:13partly appearing worn
11:15whitish layer of paint.
11:16Around the screwed-on bottle neck
11:18The paint material is even thickly encrusted.
11:21Only vaguely discernible in the frontal view,
11:24are the ones on top of the
11:25the caps sealing the bottle necks were glued on,
11:28in the basic system with the one attached to the mast,
11:31identical newspaper clippings marked with a cross.
11:34They all leave sentence and word fragments.
11:37such as "central bank" or "announce engagement",
11:41their arbitrariness, however
11:42cannot be placed in any immediate context.
11:45On this hill, which serves as a base
11:48So they are on the left and right
11:50a structure that towers above them
11:52Two accompanying figures are arranged.
11:54The interpretation suggested by the work's title,
11:57the assemblage as the scene of the crucifixion of Jesus
12:00on the hill of Golgotha,
12:02to understand the "skull site",
12:04This follows in the appendix.
12:05the iconographic topos of the crucifixion group
12:08with a group of people at the foot
12:10of the crucified Jesus.
12:12These are generally based on the Gospel of John,
12:16left Jesus' mother Mary
12:18and to the right, the Apostle John.
12:20In the middle between, in this imagery, is...
12:23that is, the cross with Jesus dying on it.
12:26The wire may be a reference to the crown of thorns,
12:29Needle and thread on the special connection
12:32between Jesus and his in the interpretive tradition
12:35repeatedly referring to John as the "favorite disciple".
12:39In an alternative interpretation, the two bottles represent
12:42– slightly tilted to the right,
12:44the rights even quite clearly –
12:47the two “Schecher”, that is, “robbers”,
12:49who are crucified at Christ's side.
12:52In the biblical account, Gestas shows,
12:54the rights of the two
12:55even in the face of one's own death
12:57little remorse for his actions
12:59and even mocks the doubting Jesus.
13:02Dismas, however, recognizes his innocence.
13:04and begs him for mercy.
13:06Jesus then promises the one who is full of sorrow,
13:09that same day
13:10would be together in paradise.
13:12Thus, the place of one's own death becomes
13:15at the same time a place of renewal,
13:17the resurrection.
13:19The symmetry supporting these interpretations
13:21frontal view
13:22However, it naturally gets lost.
13:24in the side view of the,
13:25This should also be the case despite all the dominance.
13:28the frontal perspective available
13:30Don't forget the illustrations,
13:33three-dimensional object.
13:34It now becomes clear that
13:36that the spatial depth of the work
13:37significantly larger than its width.
13:40From this perspective
13:41The overall form evokes associations
13:43to an improvised raft.
13:45One might even think of Jericot's monumental painting
13:48think of the Raft of the Medusa.
13:50This too addresses, in the broadest sense, the topic.
13:52painful death
13:54and the symbolic resurrection
13:56after the liberating rescue
13:57out of the catastrophe.
13:58The side view
14:00much more clearly visible lacing
14:03the two central wooden strips
14:04It seems like something born out of necessity.
14:06established connection
14:08to a mast with sail
14:09and reinforces the association
14:11of a raft once again.
14:13The wire, which looks so haphazardly shaped from the front
14:16protrudes above the bottles
14:17like a makeshift fishing rod.
14:19At its looped end
14:21The needle hangs from the thin thread.
14:23like bait.
14:24The bottles, however,
14:26Viewed from the front, tilted to the right
14:28are in this view
14:29in the upright
14:30almost like two posts
14:32who are looking out for land.
14:34In the Stuttgart exhibition as well
14:36barely to be appreciated rear view
14:38This is particularly evident
14:39on the left bottle
14:40a regular recess
14:42in the applied color.
14:44The brown glass
14:45remains clearly visible.
14:46This can also be seen
14:48that the bottles are empty.
14:50Clearer than from the front
14:51Are the cables also located at the back?
14:52and their heavily frayed ends
14:54to identify
14:55the two
14:56the central vertical shape
14:57connect forming ridges.
14:59Here is one
15:01also wedge-shaped
15:02It can be seen that it tapers to a point at the bottom.
15:04The connection via electrical cables
15:06is no coincidence
15:07but a hint
15:08based on Beuys' understanding
15:09of art
15:10as an energy system.
15:12The Cross
15:13is no longer just a totem pole
15:14but a transformer
15:16which conducts spiritual energy.
15:19Perhaps also stemming from this thought
15:21does he use the symbol repeatedly?
15:23also in other contexts.
15:24A purely Christian interpretation of the work
15:27must therefore also be in the artist's interest
15:29at least it can be understood as a restriction.
15:32In the 1960s
15:33Beuys, for example, uses
15:35the cross motif on several stamps
15:37with which he decorates various objects
15:39to mark them
15:41his artistic cosmos
15:42to incorporate.
15:44The bottles
15:45often as blood transfusions
15:47or containers for medicine
15:48or food-related
15:50refer at the same time to the topic
15:51the healing
15:52and substance transformation.
15:54It is striking that
15:56that numerous of the work's constituent elements
15:58also occur twice.
16:00Two baseboards
16:01are crossed against each other,
16:03two vertical strips
16:04with two cables
16:05bound together
16:07two pieces of beam
16:08form parallel directions
16:09the base
16:10for those two
16:11bottles mounted on it.
16:13The duality is obvious
16:15a work
16:16recurring theme.
16:19Common feature
16:20all three more or less
16:21vertical elements,
16:23Bottles like masts,
16:24are the newspaper clippings
16:25with the cross painted on it.
16:28What is remarkable here is
16:29which despite the clear
16:30Christian references
16:31of the complete work
16:32used form
16:33of the Greek
16:34also common cross,
16:36known from the coat of arms
16:37of the Red Cross,
16:38instead of the one in the Christian
16:40Iconography used
16:41Latin cross,
16:43on which Jesus died.
16:45It is certainly
16:46not too far
16:47far-fetched idea
16:48in this symbolic language
16:50the connection
16:50also regarding Beuys's downfall,
16:52his rescue and care
16:53and his resurrection
16:55after the death experience
16:56to see.
16:57Beuys solves the cross
16:58from its pure
16:59Christian religious significance
17:01and describes it as
17:03A symbol for humanity.
17:04For him, the crucifixion
17:06a necessary process
17:08on the way
17:08to full incarnation.
17:10for which man
17:11must die metaphorically
17:12to in a new,
17:14creative form
17:15to rise again.
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