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Kunstkritik in Zeiten Von Populismen Und Nationalismen. Akten Des 52. Internationalen AICA Kongresses, Köln/Berlin 1. Bis 7. Ok

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Kunstkritik in Zeiten Von Populismen Und Nationalismen. Akten Des 52. Internationalen AICA Kongresses, Köln/Berlin 1. Bis 7. Ok AICA Kunstkritik in Zeiten von Populismen und Nationalismen AICA Deutschland Der 52. Internationale AICA Kongress und die vorliegende Publikation wurden ermöglicht durch die Kulturstiftung des Bundes, die Bundeszentrale für politische Bildung und die KAI 10 | ARTHENA FOUNDATION / Düsseldorf. Folgende Institutionen haben uns ihre Gastfreundschaft gewährt: Köln – die Kunsthochschule für Medien, die Michael Horbach Stiftung und das Museum Ludwig sowie die Stadt Köln; Berlin – die Berlinische Galerie, das Museum Hamburger Bahnhof und das PalaisPopulaire. Wir danken allen Galerien und Institutionen, die uns während des Pre-Kongresses in Köln und des Post-Kongresses in Berlin empfangen haben. KUNSTKRITIK IN ZEITEN VON POPULISMEN UND NATIONALISMEN Akten des 52. internationalen AICA Kongresses Köln/Berlin 1. bis 7. Oktober 2019 Herausgegeben von Danièle Perrier und Ellen Wagner AICA Deutschland in Kooperation mit der Kulturstiftung des Bundes und AICA International INDEX Begrüßung 1 Lisbeth Rebollo Gonçalves, Präsidentin der AICA International Eröffnungsrede »Kunstkritik: ihre Aufgaben – ihre Krise« 3 Danièle Perrier, Präsidentin der AICA Deutschland e. V. Zur Geschichte der Deutschen AICA 9 Jacques Leenhardt, Honorarpräsident der AICA International Panel 1 Nuancen des Populismus zwischen Kultur und Politik 15 Abstracts 17 Populismus und Antipopulismus in Politik und Kunst, Oliver Marchart 19 Sozialer Sadismus als Redefreiheit, Ana Teixeira Pinto 25 Diskussion – Moderation: Jörg Heiser 35 Panel 2 »Preußen-Komplex«. Das Berliner Humboldt Forum und sein Umfeld 43 Abstracts 45 Dekolonisierung und deutsche Kulturpolitik. Warum es so schwierig ist, koloniale Kunst zurückzugeben, Thomas E. Schmidt 47 Ein Forum ohne Dialog? Eine Wunderkammer des Misslingens multidirektionaler Erinnerungspolitik, Sarah Hegenbart 51 Diskussion – Moderation: Jörg Heiser 61 Panel 3 Kunstkritik und Gesellschaft 65 Abstracts 67 Kunst und Kunstkritik in Zeiten politischer Polarisierung, Harry Lehmann 69 Die Autonomie der Kunst ist nicht die Autonomie des Künstlers. Möglichkeiten von Kunstkritik in der Gesellschaft der Singularitäten, Kolja Reichert 79 Diskussion – Moderation: Catrin Lorch 85 Panel 4 Öffentlichkeit und Popularität 91 Abstract 93 Der Karneval der Popularität. Das Populäre dem Populismus entreißen, Paul O’Kane 95 Diskussion – Moderation: Alexander Koch 101 Panel 5 Kunstkritik und Gender 109 Abstracts 111 »Yihadismo de Género«: Die antifeministischen Begriffsarsenale des spanischen Nationalpopulismus, Miguel Rivas Venegas 113 RE/WRITING HISTORY. Kunstkritik als Vehikel der Veränderung in der Ära von #MeToo, Belinda Grace Gardner 121 Diskussion – Moderation: Elke Buhr 129 Panel 6 Politik und Kunst zwischen Avantgarde und Propaganda 135 Abstract 137 Von der Selbstverteidigung zum Gegenangriff, oder: Wie Populisten in Polen die Sprache der zeitgenössischen Kunst eroberten, Marek Wasilewski 139 Masse und Macht? Zwei polnische Künstler in London: Marcin Dudek, Ewa Axelrad im Kontext des »Brexit«, Sarah Wilson 149 Diskussion – Moderation: Catrin Lorch 157 Panel 7 Zur Lage der Kunstkritik in Osteuropa 163 Abstracts 165 Demokratie in der Defensive: Osteuropäische Kunstkritik in der Ära der illiberalen Globalisierung, Maja und Reuben Fowkes 167 Vox populi – Politiker als Kunstkritiker, Małgorzata Stępnik 175 Diskussion – Moderation: Liam Kelly 183 Podiumsdiskussion Politische Zensur und ihre Auswirkungen auf die Kunstproduktion und die Kunstkritik 189 Beiträge von: Hernán D. Caro, Vivienne Chow, Erden Kosova, Delaine Le Bas Diskussion – Moderation: Rafael Cardoso Panel 8 Kunst, Kritik und Institution 207 Abstracts 209 Kunst und Aktivismus, Julia Voss 211 Populismus vs. Demokratie und soziale Medien. Eine Diskussion mit Mischa Kuball und Gregor H. Lersch – Moderation: Norman L. Kleeblatt 215 Panel 9 Lust am Urteil – Furcht vorm Verriss 223 Abstracts 225 Was brauchst du? Zum Verhältnis von Empathie und Kritik, Thomas Edlinger 227 »Design und Strafe« – Designkritik in Zeiten webformatierter Realsatire, Florian Arnold 235 Diskussion – Moderation: Ellen Wagner 241 Film als Kritik Künstlerischer Filmbeitrag 245 »ReCoder of Life (part2)«, Stefan Römer Diskussion – Moderation: Sabine Maria Schmidt 247 AICA Incentive Award for Young Art Critics 2019 251 Abstract 253 Wie die kuratorische Stereotypisierung chinesischer Kunst das Werk Zheng Guogus essenzialisiert, Wenting Tao 255 Panel 10 Kunstkritik und Diskriminierung 261 Abstracts 263 Krisen der Kritik/Negative Fähigkeiten, Isabelle Graw und Sabeth Buchmann 265 Diskussion I – Moderation: Elke Buhr 273 Kunstfreiheit als Privileg, Antje Stahl und Julia Pelta Feldman 277 Diskussion II – Moderation: Elke Buhr 289 Abschlussdiskussion Im Fokus: Die Autonomie der Kunstkritik und ihre Zukunft 295 Abstract 297 Kolja Reichert im Gespräch mit Wolfgang Ullrich 299 Appendix 315 Autorenbiografien 317 Abbildungsverzeichnis 331 Notizen der Herausgeberinnen 335 Mitwirkende am Kongress 336 Impressum 337 BEGRUESSUNG 1 Lisbeth Rebollo Gonçalves, Präsidentin der AICA International Ich freue mich sehr, Sie in diesem Vorwort zu den Akten des 52. AICA-Jahres- kongresses im Namen von AICA International begrüßen zu dürfen. Im Leben der AICA sind Jahreskongresse sehr wichtig. Sie behandeln aktuelle Fragen auf dem Gebiet der Kunst und der Gesellschaft, aus der Vergangenheit wie aus der Gegenwart. Man kann sagen, es sind Meilensteine sowohl für AICA-Mitglieder weltweit als auch für die etablierte Kunstwelt überhaupt. Dies ist einer der Gründe, warum AICA diese Kongresse auf einer jährlichen Basis veranstaltet. Jedes Mal, wenn ein Gipfeltreffen dieser Art stattfindet, scheint es mir wichtig, ein wenig an die Geschichte der AICA und die Bedeutung der Kongresse in ihrer Geschichte zu erinnern, die im Verlauf der letzten siebzig Jahre geschrieben wurde. AICA entstand unmittelbar nach dem Zweiten Weltkrieg im Rahmen der UNESCO. Sie verfolgt das Ziel, mit der UNESCO zusammenzuarbeiten, um zur Erneuerung ethischer Werte beizutragen. Auf internationaler Ebene macht es sich AICA außerdem zum Ziel, eine Wiederannäherung zwischen verschiedenen Kulturen zu fördern, dabei aber zugleich die Bedeutung kultureller Vielfalt zu respektieren. Kunstkritiker und Kunsthistoriker sowie Kuratoren aus Museen für Moderne Kunst trafen sich 1948 und 1949 zweimal im Pariser Hauptquartier der UNESCO, um die Gründung eines Internationalen Kunstkritikerverbands zu diskutieren. Sie kamen aus der ganzen Welt und unter ihnen befanden sich einige der angesehensten Namen ihrer Zeit. Im Anschluss an diese beiden internationalen Treffen wurde 1950 die Association Internationale des Critiques d’Art gegründet und von der UNESCO 1951 als NGO zugelassen. Heute kann man sagen, dass die AICA ein fest etabliertes Forum auf dem Gebiet der Kunst und Kultur ist, wo sich viele unterschiedliche Stimmen äußern und Gehör ver- schaffen können. AICA verfolgt nicht nur die Absicht, der Kunstkritik zu einer Öffentlichkeit zu verhelfen, sondern präsentiert auch eine offene Arena, um die Werte der zeit- genössischen Gesellschaft zu diskutieren. Ihre Aktionen, Entscheidungen und Debatten können bedeutende ethische Auswirkungen haben, nicht nur auf die Kultur, sondern auch auf die Gesellschaft insgesamt. AICA führt Menschen aus der ganzen Welt zusammen und ist damit ein Ort des Austausches und ein Nährboden für Ideen. Es gibt etwa 5000 assoziierte Mitglieder aus 95 Ländern, die in 56 Nationalen Sektionen und einer »Offenen Sektion« organisiert sind, deren Mitglied Kritiker werden können, deren Länder über keine eigene nationale AICA-Sektion verfügen. Von 2018 bis 2020 feierte die AICA ihren siebzigsten Geburtstag. Der 52. Jahres- kongress in Deutschland war ein wichtiger Meilenstein dieser Feierlichkeiten. Seit den 1970er Jahren war die AICA nicht mehr zu einem Jahreskongress nach Deutschland zurück- gekehrt. Zwei wichtige Kongresse fanden damals statt: 1974 in Dresden und (Ost-)Berlin in der damaligen Deutschen Demokratischen Republik (DDR) und 1977 in Köln, in der Bundesrepublik Deutschland (BRD). Das war damals natürlich auf dem Höhepunkt des Kalten Krieges, nach der Teilung des Landes in zwei eigenständige Teile als Folge von Ent- scheidungen, welche die Sowjetunion und ihre drei westlichen Verbündeten in den Jahren 2 unmittelbar nach dem Ende des Zweiten Weltkriegs 1945 getroffen hatten. Dass AICA mit ihrem Ziel politischer Neutralität in der Lage war, auf beiden Seiten des ›Eisernen Vor- hangs‹ als Gastgeberin dieser Veranstaltungen und der mit ihnen verbundenen Debatten zu fungieren, war von großer Bedeutung und hatte damals eine ganze Reihe nationaler und internationaler Auswirkungen. Jetzt, im Jahr 2019, sind wir mit einem von der deutschen Sektion des Verbandes vorgeschlagenen Thema nach Deutschland zurückgekehrt. AICA Deutschland war der Meinung, es sei von größter Bedeutung, in einer ganzen, umfassenden Reihe von Beiträgen und Diskussionen zu »Populismus und Nationalismus« die Ansichten von Kunstkritikern zu hören, um so Kunst und Kritik als Ausdruck der Gesellschaft zu identifizieren, die über das Potenzial verfügen, in die Spannungen des Alltagslebens einzugreifen. Ich kann mich dafür verbürgen, dass wir von diesem Austausch des Wissens und der Meinungen bereichert wurden und uns inspiriert fühlten, diesen Fragen weiter nachzugehen und unsere eigenen Antworten darauf zu entwickeln. In diesem Vorwort zu den Akten des 52. AICA-Jahreskongresses möchte ich der Kulturstiftung des Bundes für die entscheidende Unterstützung danken, die sie uns bei der Finanzierung des Kongresses und der anschließenden
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