2001-04-16 - 3:26 p.m.
COMPUTER TRANSLATION OF A MANIFESTO
The following is a computer translation (courtesy of www.google.com) back to 'English' from the German translation of the 'Open Letter to Sir Nicholas Serota' which appeared in Junge Welt. The first two paragraphs are the intro written by Connie Losch. Enjoy!
SHOCK OR YAWNING
OPEN LETTER OF THE STUCCOISTS AGAINST THE POSTMODERNISM
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Stuccoists mean it serious. They have enough from the eternal Rumgekasper of the Brit type artists on beds, in tents and with dead animals. Had created they itself in August yearly with a communist manifesto, passed, which hit. Therein they held the opinion that printout is not urgently necessary in the art a dusty old-fashionable thing from old days, but. Art is not context, but art is painting, means it anti-avant-garde.
Stuckism is merry, but no joke. Offense, which threw Tracey Emin, which geisterte last with their in the Londoner Tate Gallery, zugemuellten bed issued in the last autumn by the media, to its ex friend Billy Childish to the heading, it was been stuck ("stucco"), understood it as radix complement and its own art movement made draus. Together with Charles Thomson, Sexton Ming, Ella Guru, wolf Howard and unite other notorious tormenting spirit goes to Billy Childish the art establishment duly on the nerves. At the beginning of March was opened in the Londoner Gallery 108 in the quarter Shoreditch the second large Stuckisten exhibition with the title " the resignation from Sir Nicholas Serota ". The most prominent picture of the exhibition, a painting of Charles Thomson with the title " Sir Nicholas Serota decides on a new acquisition ", shows the director of the Londoner Tate Gallery before enormous red pants standing and asking: " is that a genuine Emin (10,000 Pound) or a worthless falsification?" Punctually to the initialization written Childish and Thomson a " open letter at Sir Nicholas Serota ", the director of the Tate Gallery, which is documented in the following.
SHOCK OF THE NEW ONE OR YAWNING IN VIEW OF THE OBVIOUS ONE?
Each poor soul, which turns on the search for visions truth or completely simply to a way forward the contemporary art, will be very disappointed. The postmodernism, our " official avant-garde ", is a coole, skillful marketing machinery, within those the Cleverness and the Zynismus of an art, which of nothing when concerns oneself, feelings, contents and rob faith each meaning. A movement, which explains publicly to give a new direction remained never before so far behind the desires and interests of a society, to which them consider themselves superior.
For the sixties a paradigm change took place to decentralization, Spiritualitaet and new attention for the laws of nature. In their feverful Introvertiertheit the postmodernism did not even take this event to the knowledge, instead of to its goes it further in its spiritless attempt, dangerously and modern working, with superficialness and irony to hausieren. People do not want supermarkets outside of the city, it want no genetically altered food and them no Concept art.
The Idiotie of the postmodernism consists to be in its requirement, the high point of the history of art - while she at the same time denies the values, which make art only valuable at all. It gives to argue with significant contents however no meaning possesses or its beyond the verschwurbelten dialog, which it leads with itself.
The value of the art depends on the level of vision and insight, which the artist achieves. It is a constantly deepening process. The superiority of the Brit artists however seems to be in the maintenance of their medium fame within the artist horde/hurdle. This consciousness level reflects itself in the superficial, putrid and ridiculous nature of its work.
The emergence of art penetrates its meaning. Art, which was manufactured or was not paid not with experience, is without meaning. 1915 were urgently necessary and outrageous the joke of the Dadaisten; as announcement of post office-modern irony it becomes unbelievably desert. If there is innovation and vision within the postmodernism, then in the area of the marketing of art.
God died sometime in the western art during the First World War, and, although it made fun to push him from its high Ross to it is not particularly amusing to watch the artist horde/hurdle today how it occurs on it, although it already is because of the soil (particularly then, if its Dealer is such as used-car dealers in their Gucci uniforms in the shadow, with its pocket calculators does not rattle and into their vulgaeren Handys wispern). We classify the work, which these puppet players promote, as " car accident art ": The only public, which tightens it, is one, which drives morbide curiosity.
The founders of the Dadaismus would disapprove the conformalism and the Mutlosigkeit, which put this today's Heuchler to the day. One cannot believing differently than the fact that Saatchis would have let flat sensation greed Duchamp require it would have its Pisspott never issued and would be instead of its water color painters become.
The cloudy-gloomy objects and plateful accumulations the newest artist star the vermuellen exhibition surfaces of our galleries and bore themselves with their abyss-deep obviousness. In the meantime the critics carry out ridiculous mental turn exercises, in order to say something about things about which there is nothing to say, because they concern of nothing.
It requires the execution that an everyday article, for example a bed, remains in its normal environment, i.e. a bedroom, in each case a bed. Indeed it would remain still only one bed, it in a department store shop window would be issued or into a channel thrown. Beyond that we state that the unselige bed not yet fewer - however also not more - when only one bed would be, one would let it land from the point of the Eiffelturmes herunterbaumeln or on the moon. It seems, as if mentioned bed stopped only then being only one bed and art would somehow become, as soon as one " kontextualisierenden " it in space of a gallery places. We conclude from the fact that the merit/service of this upsetting metamorphosis to the owner of gallery be charged should. In the art today it seems to be the Galerist, which brings the wondrous conversion of lay articles into ingenious factories to way!
We want to now consider, what occurs with such an article in this unfortunate situation, this time perhaps the alternation for the sake of on the basis the " Verkunstung " of a brick instead of a bed. In its earlier life the brick did not have a meaning - only one existence and a potential function (at the most useful as part of a wall). Since it is now not longer only a brick but a work of art, and there art qua definitionem an activity of importance is, must a meaning be found An interpretation manager appears thus on the supraregional television and explains the brick as a symbol for the artist disadvantaged growing up in Birmingham. A prominent critic could understand it just as well as toolistic dialectic. The gallery visitor for his part could possibly regard it as minimumistic advancement of Carl Andrés famous rectangle.
It actually behaves in such a way that the brick, because it concerns of nothing concerns of each condemned thing, which can occur to one only. Thus this special art object becomes completely unnecessary, because the same imaginative process can be achieved, by opening the eyes completely simply in any environment and toward the first article directs it, which comes to one into the view - the logical continuation of the art in the life is then detected and the requirement of art is completely destroyed made. Well so! This shows both the ridiculousness of a school, which used up itself these practices, and the falsehood of striving for constant " progress " within a linear history of art. the summit of artistic performance to be far from it, is Brit type fewer industriously, ideas promoting and significantly than an average exhibition of a local group of hobby artists.
Painting possesses, by bringing internal experiences into accessible and recognizable pictures, in the form of resonance and Mysterium, a depth, which is as substantial for the human psyche as food and water for the human body. Pigment is essential for the printout of humans. Painting pictures outlasted the times since the caves of Lascaux, permits it us the direct confrontation, detecting and the emotional argument with our possibilities and boundaries.
Only by daring it to communicate with perfect honesty we become fair our true nature. A painting of Delacroix, a water color, developed in a mark course for adults, or a child drawing as art will always be recognizable, even if they are thrown away and picked up on the road. We call this " ismus the its that the thing is ". Whatever the context may be, a painting remains a painting. Similarly as a dead shark in each case a liveless fish remains independent of its context. And no matter, how much a folding brushes pay today for it, post office modernism is intended for the garbage pail of history, whereas the production of pictures will be always substantial for the level of knowledge and the self understanding of mankind.
