Die Kunstentwicklung in Europa Nach 1945 Ein Neues Narrativ in Zehn Phasen
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22.10.2016 – 29.1.2017 Der Kontinent, den die EU nicht kennt. Die Kunstentwicklung in Europa nach 1945 Ein neues Narrativ in zehn Phasen The Development of Art in Europe after 1945 A New Narrative in Ten Phases ZKM | Zentrum für Kunst und Medien Karlsruhe Phase 1 are smashed, burnt, and slashed. Phase 8 Trauma and Remembrance As a prisoner of trauma, art be Action Art The end of the Second World comes a reaction formation (Anna Art liberates itself from War left Europe at the “degree Freud). The autodestruction of representation in three stages: zero” of meaning and being. The the representational becomes 1. Action painting, i.e. a painter’s efforts of European art to free a trendsetting artistic method in actions performed on a horizontal itself from the trauma of destruction sculpture and painting, literature, canvas. 2. Show painting, i. e. a (world war, Holocaust, Gulag, music, and film. painter’s action before a canvas, nuclear bomb) progress, through on a stage and before an audience. a number of phases. The represen Phase 5 3. A painter’s action without a tation of ravaged houses and New Realism, or from Represen- canvas, before an audience. In action human bodies is initially premod tation to Reality art, the focus is on the artist as ern, i. e. figurative, in the form The refusal and prohibition a performer. The artist’s actions, of Schmerzensbilder [pain images of representation (T.W. Adorno) demonstrations, happenings, and and sculptures]. drew a determined reply from Raul performances, in combination Hilberg – the insistence on object with the audience’s participation Phase 2 centered reality. The phase of escape and actions, mark the beginning of Abstraction from trauma begins with the escape the performative turn in fine art. The crisis of representation from the image. In art, everything and the uncertainty whether the that had been representation was, Phase 9 horror of barbarism could even step by step, replaced with reality. A Concept Art be portrayed figuratively bring forth dialogue with real things constitutes The material phase of art is abstraction, in painting and sculp the art direction of new realism, followed by the tendency of immate ture. Informel and tachisme are which also declares everyday objects rialization. Action instructions examples of this reduction, focused eligible as art. Thus, the mass media for the audience replace action. A on the selfrepresentation of the and mass production became description of an exhibition becomes means of representation, which are sources of pop art. the exhibition, art commentary it dis torted and distressed. Phases 1 self becomes art, linguistic analyses and 2 are subjectcentered expres Phase 6 become pictorial forms. From visual sion art. New Visions and Tendencies poetry to story art, a textbased The breaks with the historical media art arises – consisting of photo Phase 3 means of representation and expres graphs, films, and neon tubes, Material Painting, or the Crisis sion were followed by departures combined with objects – creating of Easel Painting into zones of new methods, materials, new relationships between art and The tabula rasa includes the machines, and media – in an ex philosophy. Language becomes means of representation themselves. pansion of the arts. From moving the model, and instead of images, In the 1950s, the Italian material object to moving viewer, from kinetics conceptual writing reigns – in con painting substitutes iron, cement, to cybernetics, from op art to neo cept art. It is an expression of the and gunny for canvas and oils. The constructivism and Arte Program linguistic turn in art. painting becomes an object. mata, art as research produces We see the degree zero of the new visual experiences presuppos ing Phase 10 easel painting. The picture vanishes, the participation of the audi ence. Media Art the panel remains. Representation Movement machines are gives way to real materiality. During Phase 7 followed by the picture machine, i.e. the 1960s Arte Povera extends the New Forms of Interactivity the apparatusdriven moving picture polimaterici of material painting to The elements of art become in the various media: film, video, the spatial and installational. modules of variables. Through inter and computer. The era of media art vention, the viewer can change begins. It constitutes the sum of Phase 4 works physically. A work of art and the preceding representative and The Self-Destruction of the its creation becomes programmable, realistic strategies, while also open Means of Representation by analog or digital means. The ing the space of the imaginary and Culture has failed in the face of image becomes a form of action, as the virtual – and thus the space barbarianism. Experienced and does sculpture. Instead of works of of that yet to come. Participation observed real destruction are trans art we have instructions by the becomes interactivity. ferred to the means of representation artists, which position the audience themselves. Pianos, books, canvases in the focus. Peter Weibel ZKM | Center for Art and Media Karlsruhe Ausstellungsplan / floor plan Erdgeschoss / ground floor EG / GF Phase 1 5 Trauma und Erinnerung / Trauma and Remembrance 1948–1950 Phase 2 1958–1961 Abstraktion / Abstraction 1951–1954 1 Phase 3 Materialmalerei / Material Painting 1955–1957 6 Phase 4 Selbstzerstörung der 2 3 1945–1947 Darstellungsmittel / The SelfDestruction of the Means of Representation Phase 5 Neuer Realismus / New Realism 4 Phase 6 Neue Visionen und Tendenzen / Aufzug New Visions and Tendencies Elevator Brauerstraße 1. Obergeschoss / first floor 1. OG / 1st. fl. 10 Phase 7 Handlungsformen der Kunst / New Forms of Interactivity 9 1966–1968 7 Phase 8 8 Aktionskunst / Action Art Phase 9 1962–1965 Konzeptkunst / Concept Art Phase 10 Medienkunst / Media Art 6 Aufzug Elevator ZKM | Zentrum für Kunst und Medien Karlsruhe Pictures of Pain In the middle of the war and during At the time, numerous artists wounded warrior falls to the the years thereafter, artists sought recurred to Christian Crucifixion ground. Moore manages to render and found a language for the suffer- iconography, including Graham the dramatic moment between life ing caused by the war, breaking the Sutherland and Alfred Hrdlicka. and death. The head presents, skull- silence of society. HAP Grieshaber named his large- like, only the empty eye sockets – In occupied Paris, in July 1942, format woodcut Schmerzensbild war having obliterated all its indi- Pablo Picasso began his preliminary [Pain Picture]. Like on a diptych, a vidual features. Alina Szapocznikow sketches for a personal protector mother and child in the tradition of displays an exhumed corpse, in all and defender figure in the tradition madonna depictions are confronted its brutality. of the good shepherd from the with a man, staring squarely fron- Roman catacombs. Picasso’s paint- tally out of the image, his medal- Eckhart Gillen ing Nu au divan [Nude on a Divan] decorated chest denoting his status shows an ashen-colored nude on as a soldier. Henry Moore‘s sculp- a coffin-like divan, reminiscent of ture Falling Warrior presents the a corpse in a crematorium. moment in which the mortally 1 Pablo Picasso, “2 studies Man 5 Graham Sutherland, “Crucifixion” with Lamb” 6 Alfred Hrdlicka, “Crucified” 2 Pablo Picasso, “Nu au divan” 7 HAP Grieshaber, “Schmerzens- 3 Henry Moore, “Falling Warrior” bild” 4 Alina Szapocznikow, “Sitting Person without Arms and Legs Leans Forward Slightly” 4 1 5 7 2 6 3 ZKM | Zentrum für Kunst und Medien Karlsruhe Ban on Mourning Their obsession with progress dentures re-emerged in the accu- drove the Communist parties, in the mulations produced by Arman, Soviet Union and in their allied César, and other nouveaux réalistes. countries, to compel artists in their The West German govern ment sphere of influence to commit prevented the inclusion of the film themselves to shaping the future. in the official competition of the Resistance against this official ban 1956 Cannes Film Festival. on mourning came from such Polish artists as Marek Oberländer Eckhart Gillen and Andrzej Wróblewski. In 1949, Wróblewski painted a series of paintings on death by firing squad. The pictures were produced in preparation for an anti-war exhibition that Wróblewski and his Kraków art academy group were planning for that spring. The show 1 Marek Oberländer, was banned by the Communist “Silhouette on White Background” Party of Poland. 2 Andrzej Wróblewski, Six years later, in 1955, the “Execution Against a Wall” end of socialist realism in Poland 3 Vadim Sidur, “Treblinka” 1 was marked by an exhibition held 4 Alain Resnais, “Nuit et Brouillard” at the Warsaw Arsenal during the Fifth International Festival of Youth and Students. Against War, against 2 Fascism showcased the works of 3 such young artists as Marek Oberländer. In his 1961 painting Sylwetka na białym tle [Silhouette on a White Background], we see a totally wasted human body, whose chest lies gaping open like a cage, and whose twisted head resembles an extraterrestrial more than a human visage. Vadim Sidur’s sculpture Treblinka concretizes the Shoah pheno menon as an accumulation of corpses, stacked cross-wise and weighing on a still alive female figure braced below them. Alain Resnais’s film Night and Fog (Nuit et Brouillard), with music by Hanns Eisler, presents, for the first time, documentary footage 4 shot by a Soviet camera crew during the liberation of Auschwitz Concen- 1945–1947 tration Camp, on 27 January 1945. The images of mountains of sorted clothing, suitcases, glasses, and ZKM | Zentrum für Kunst und Medien Karlsruhe Homo Homini Lupus In 1944, in German-occupied Paris, same year, Dutch painter Karel monochromatic material paintings Georges Rouault translated the Appel – like Constant, a member of and objects of sheet metal and Latin aphorism “Homo homini lupus”, the artist group CoBrA, a name plastics were a rebellion against the from Titus Maccius Plautus’s coined from the initials of the cities subjectivism of the Informel.