Artists and works of art often demonstrate an extraordinarily fine sense of the zeitgeist ; this can sometimes be seen in social changes, as the retrospective examination of the Sculpture – Projects Münster 2007 shows.
The works of art on the sculpture projects in Münster 2007 were (not quite as planned) in the sign of the shredded wealth waste, they wanted to provoke the over-saturated art viewer with urban origin and rather over-saturated loss of consumption. They were also characterized by a return to nature, and the organizers were no longer planned:
Pawel Althamer , the Polish artist who worked between sculpture , performance , video art and installation created the not only spiritual “Sciezka” (path) into the void – he had a footpath begin in the middle of a meadow not far from the centrally located Aasee, which ran across everything that could be reached via asphalt paths in this local recreation area.
Kultuurinavigaattori, CC BY-SA 4.0, via Wikimedia Commons
To be more precise, this path simply led out into nature , in the middle of a grain field and beyond it even more in even more nature.
Althamer, with his primal polish trampel path (the Poles are considered a master to create the paths for direct connections in large areas with carefully laid out the paths immediately): The scarcer in the living environment, the more people are looking for the green in their respective surroundings again.
The more crowded the major art events of the summer become (in 2007, among others, the sculpture projects in Münster, the documenta in Kassel, the Biennale in Venice), the more people simply seek nature instead of even more high culture.
Althamer's path was used with pleasure, and at the documenta, too, Wilhelmshöhe Palace and its mountain park at times attracted more people than the high art on display.
Politically, Althamer landed a sarcastic hit from the retrospect: a large part of the citizens of his home country that was only in 1989 and it has only been a dominant -thinking Europeans to the EU since 2004 and has been in a scary 10 years later ...
Museum of Modern Art in Warsaw, CC BY-SA 3.0, via Wikimedia Commons
With regard to the longing for more nature, Althamer did not only have the right nose at the time, several other artists withdrawn from the "Urbaner area" and preferred to wander into the countryside, sang the water or arbor piepers or have a few yew hedges planted in the park.
"Natural" have been right in retrospect: since 2009 more and more mega-cities "vertical farming" been operated, gardens have been cultivated and increasingly created for several years, balconies (and public tree slices, and every free spot in some medium-sized city) are planted again, more and more facades, roofs and walls.
Other artists remained in the real world and only withdraw from the Urban City concept to the extent that instead of pleasing city beautification, it was hailing consumer criticism: Recycling velo from Guy Ben-ner ; the "petting zoo" with a scary depth of Mike Kelley ; Silke Wagner's human giant lit barrier, which leads back to the public discussion; Well-maintained caravan melancholy by Michael Asher ; shredded consumer art (buddy bears, bumblebel- bummel figures ff.) From
Andreas Siekmann ; and Isa Genzken , which tells infinite and unpleasant stories with the abundance of abundance: bit.ly/2eq6GJV.
"Perhaps the Megasommer 2007 will be the beginning of a new modesty" , even then it is said in the face of this assembly (mostly rather critically eyed).
Today, 16 years later, many German citizens experience this new modesty, whether through voluntary waiver or failure in politics.
"You can't sell this art", the green-rumblers, water-breders, bicycle and reasoning resentors in Münster also called quietly; Today, a collapse of the high -priced art market no longer just whispered.
Also in 2007, the exhibition "With Art Against Right" place in a small village on the German-Dutch border called Oeding.
Only when Germany has finally averted the consequences of this premonition that has been made, we should again treat ourselves to a typical ISA genezken laugh : relaxing, freed how after a great concentration (modified quote from the cultural scientist Diedrich Diederichsen ).
