While we're on the subject of Iceland, a Facebook pal writes: "a friend of mine traveled extensively through the country and came across this fresco of a tanned male supermodel Jesus in a woolen turtleneck sweater. In comparison to this vision of The Utter Beyond, Michelangelo's Last Judgment or Bernini's St. Theresa just evaporate into insignificance. I name it Comfy Jesus:"
Listen to the entire goddamn thing. You'll be glad you did.
A Syrian refugee in Bingen, Germany set fire to the migrant shelter where he lived, and spray-painted a few swastikas to mislead the police:
You call that a swastika? Pathetic.
Take it from me: The secret to spray-painting swastikas is to spray the central cross first. If you're aiming for authenticity, tilt it 45 degrees to make an 'X' -- that's now the Nazis did it. Then you simply add some hooks at 90-degree angles. Bingo! It's not called a 'hook-cross' (Hakenkreuz) in German for nothing.
I'll be expecting much better work from now on, Kameraden.
Many delights in the searchable online archive of Spy Magazine, the originator of the Trump put-down 'short-fingered vulgarian'. A collection of literal translations of French porn films from the May 1992 issue:
Marcel Broodthaers was a poet before he was an artist, and two of his early collections have now been translated:
What comes across insistently in both collections is Broodthaers’s attraction to thresholds, to points of transition that equally signify ends and beginnings. He makes reference to voyages undertaken and to midday, daybreak, and other such points of passage in our experience of time. Midnight ends not in darkness but at dawn, as its concluding poem “The Morning” closes with a gift of visionary illumination: “A light filters through to me, a / light of the crests of grasses.” One of the more moving poems in the Siglio volume is simply called “Final Poem,” coming at the end of My Ogre Book, suggesting that the book’s particular journey has reached a kind of terminus:
The streets enter from all sides. Blue flies begin to circle. They cast their eyes down to the pavement. They cry out :
That it is morning
That it is war
That life is costly
That it doesn’t fail to run too fast
That a storm has come quick
That it isn’t surprising
And that one has said it well.
Telescoped here is a sense both of distilled experience and of pride: the poet has made it through, at a cost. But on the opposing page, as a kind of envoi, we’re told that the storm has subsided and “That which had been lightning / became the zigzag of my steps”—the finality of the book’s last poem has now been transmuted into new, animated movement, leading to an unknown beyond.
There’s a restlessness on display in Broodthaers’s poetry that reveals something integral about what he achieved through his career’s varied projects. The poems seem to come from a radically different place than the later visual and conceptual work, but what unites all of it is an emphasis on renewal, reinvention, moving onward in the wake of what one has brought to completion.
MAO -- Materialien zur Analyse von Opposition (Materials for Analysis of the Opposition) is an online archive (g) of documents from the heyday of German Maoism. It collects flyers, magazines, manifestos, artwork, banners and other ephemera from the early- to mid-1970s, when some factions on the German left became enthusiastic adherents of Chairman Mao thought. The website is a bit hard to navigate, but you can tell it's a labor of love and probably dates from the 1990s, so gratitude is in order.
I stumbled on an interesting document, a review of a book by Jörg Immendorff. First, a bit of background. Immendorff was a Düsseldorf-based artist famous enough to have an English Wikipedia entry. He was a fixture of the Düsseldorf culture scene and a teacher at the Kunstakademie until his death from ALS in 2008. More on him later.
The book the Maoists review is entitled (my trans.): 'Here and Now: Do What Must Be Done. Jörg Immendorf. Materials for a Discussion: Art in Political Struggle. Whose Side Are You On, Culture-Creator?' Despite this engaging title, the book doesn't seem to have sold many copies and is now rare. This is the cover (from this antiquarian website (g) where you can buy the book for €120):
I'm sure this painting is by Immendorff himself. It isn't Hockney/Currin-esque ironically self-aware textureless or 'bad' painting. It's just clumsy. This is what most Immendorffs look like. If you're getting the idea that I don't dig him, you're right-on, man. I've always found his stuff unconvincing: either crowded and ugly, or flat and cliched.
But what about his political views? Like so many German lefty/culture types, Immendorff jumped onto the bandwagon of Maoism in the early 1970s. This book is obviously from that period.
A review of the book and the associated exhibition can be found in this 1973 agitprop flyer (g) from the Revolutionary Artists' Group, found on the archive website. Let me apologize in advance for the layout of this page from a self-proclaimed 'Artists' group'. Clearly, these Revolutionary Artists are mostly untrained, given what's on display in most of the pamphlet. Yet no matter how limited your means are, there's no excuse for pages clogged with unreadable clots of text like the one below. Apparently columns are tools of the bourgeoisie.
But let's forge ahead anyway. The handwritten title reads: "Progress at the anti-imperialist Culture Front!" and begins: "A book has just appeared from Comrade Jörg Immendorff, who is active in the Group of Revolutionary Artists -- Ruhr Struggle."
The review, misspelling Immendorff's name, reports breathlessly that he has decided 'to consciously place his artistic activity in the service of the people and the revolutionary proletariat'.
The article then reports on the exhibition accompanying the book, which was held in the Westphalian Artist's League in Münster. Both the exhibition and the book, the review states, 'show the attitude of a partisan artist who has developed away from bourgeois philistinism towards cultural creation marked by class struggle. Both (the exhibition and the book) are a declaration of war on the brainless bourgeois avant-garde...which have learned nothing from the anti-imperialist movement of 1968.'
During the entire exhibition, young members of the 'anti-imperialist league' staffed a book-table with 'revolutionary writings' inside the museum.
The exhibition also featured a roundtable discussion with members of the Communist Students' Association, the Anti-Imperialist League, the Group of Revolutionary Artists, and Immendorff. Immendorff admitted his works were not yet fully 'revolutionary', given their incompleteness and flaws, and thus that he sought 'discussion and critique' from the audience.
One critique focused on Immendorff's portraits of 'Marx, Engels, Lenin, Stalin, and Mao Tse-Tung', which were based on the works of Chinese 'people's artists'. One cannot simply import the stylistic devices of the Chinese revolutionary artists' Social Realism into German conditions, because the international class struggle is always defined by the particular historical, social, etc. etc. -- you get the picture.
Immendorff's later history is well-known to all Germans. He continued producing masterpieces of socialist-realist artwork in the service of the international proletariat, donating every penny of profit to Third World liberation movements. He lived in a humble apartment in the working-class section of Düsseldorf, volunteering much of his time teaching painting to Turkish immigrant children. Even those who disagreed with his political views couldn't help admiring the depth of his commitment to social justice.
Oh wait, wrong Immendorff. While no doubt continuing to mouth the occasional revolutionary slogan, he went on to amass a fortune of between 15 and 18 million Euros (g) at the time of his death. He described his own philosophy of life as 'selfishness'. Late in life, he married a Romanian ingenue 30 years his junior (former student) and rechristened her Oda (after a Germanic god), last name Jaune. The French word for yellow, Immendorff's favorite color. Not hers.
But that didn't stop Immendorff from regularly renting luxury hotel rooms, to which he would invite groups of up to 15 prostitutes. There, he held hours-long cocaine orgies with them costing sums in the five-figure range. He was caught white-handed during one of these, so to speak, and eventually sentenced to 11 months' probation. At the time of this coke and champagne orgy, his wife Oda was in an advanced state of pregnancy. As a result of the prosecution, Immendorff nearly lost his comfortable civil-servant position as a teacher at the Düsseldorf art academy -- run by the state he no doubt routinely claimed to despise.
Just before he died, he changed his will to try to bestow upon the long-suffering Oda his entire fortune. This came as rather a disappointment to Immendorff's illegitimate son Jean-Louis, born in 1999. Immendorf ignored the letters and pictures his son sent him during his life, and took no interest in him. Fortunately, German law guaranteed the son an 1/8 of Immendorff's inheritance, no matter what Immendorff tried to arrange.
And that, ladies and gentlemen, is yet another object lesson in why nobody should pay the slightest attention to the political opinions artists claim to have.
Especially, it must be said, German ones.
Düsseldorf is just about to open a new subway line. No ads, just art. The Guardian is impressed:
Fifteen years in the making, the Wehrhahn metro line consists of six new stations running east to west beneath the city centre, collaboratively designed by architects, artists and engineers. “Normally the construction part happens first and then the artists are commissioned. Here the architects, artists and engineers worked together from the beginning,” she says.
It started back in 2001 when a joint proposal by Klussmann and Darmstadt-basedarchitecture practice Netzwerkarchitekten won an EU-wide, two-stage competition to design the stations. They commissioned five artists to develop concepts and, €843m (£657m) and two miles of tunnel boring and excavation later, the results are surprising, outstanding and ambitious.
There have been other art on the underground projects but two factors make this one stand out: the total lack of advertising throughout, and the cohesive vision of a common architectural language....
The station designed by Ralf Brög has three atmospheric sound corridors exploring noise sculpturally and visually, while Ursula Damm’s station features aerial views of Düsseldorf in the entrance. There is also a giant LED wall overlooking the concourse displaying real-time footage of passing pedestrians overlaid with constantly changing geometric structures that respond to the movement of passengers.
At Graf-Adolf-Platz, artist Manuel Franke created an immersive journey where sweeping layers of green rock strata accompany passengers down to the concourse and combine hand-painting with laminated security glass. Klussmann’s graphic black-and-white designs for Pempelforter Straße station play with the architecture and boundaries of the space and traditional notions of perspective to a dazzling effect....
It may seem surprising that Germany’s first art on the underground project has taken place in this relatively small and well-heeled city by the Rhine – with its population of 600,000 – instead of the larger and edgier metropolises of Berlin, Hamburg or Cologne. Yet Düsseldorf is no slouch in art scene terms. All of the artists selected have links to the city’s Kunstakademie, the renowned art school founded in 1762 whose alumni include Joseph Beuys, Gerhard Richter, Sigmar Polke and Anselm Kiefer. According to Gregor Jansen, director of the Kunsthalle, the city is more interesting than its expensive car and luxury-loving image would have you believe. “It has always been an art city and it still has the most famous art academy in Europe,” he says, referring to the Kunstakademie....
Perhaps surprisingly, the city agreed to the no advertising dimension immediately. Ulla Lux from the city’s cultural department explains their rationale: “It’s so rare to have the opportunity to create an art project of this scale in public space that in the end it was a conscious decision to allow this to be a pure art and architecture experience.”
What is perhaps most inspiring about the project is how the lack of adverts means people can be people, and not consumers. Klussmann says: “Art is often used to attract people to buy things.” But here it is just about the art and the space, and wherever your imagination takes you. How many public spaces can say the same?
I haven't seen the finished stations yet, but I did take some photos during a 'day of the open tunnel' a few years ago:
Each for a low low price of only €39.95. Collect all 19! (g)
"Tom, museum curator and expert in Renaissance jewelry, doesn’t think his boyfriend Peter is 'The One.' Peter is perfectly happy with Tom, but Tom is obsessed with the artist Benedetto Emilio Nesci—exciting, passionate, extraordinarily talented… and dead for over 400 years.
Tasked with researching a bejeweled codpiece, Tom abandons his professional ethics—and his sanity—to try on the codpiece and is transported halfway around the world and back in time, right into Florence, Italy and Nesci’s workroom."
Read more here.
One of the interesting things about these posters is how little information there is about the stolen artworks. You learn only the name and place of the theft (e.g., Rome -- a 'church') and some descriptions, not even the title of the artwork. Ordinarily when you're spreading information about a crime, you add as many details as possible. Not here.
I wonder what the strategy behind this is? Interpol obviously knows the details but is choosing not the share them. There must be some reason for this. Perhaps to make it easier for someone to report or return the work of art anonymously? But that's just a guess.
Another interesting wrinkle is the American authorities' method of investigating the biggest art theft in modern history (by value, at least), the 1990 theft at the Isabella Stewart Gardner Museum in Boston, Massachusetts. Two men posing as cops stole art worth hundreds of millions -- 2 Rembrandts, a Manet, a Degas, a Vermeer. Still unaccounted for. Hints of mob involvement. The US authorities have repeatedly announced they think they know who committed this theft:
In March 2013, the FBI said it believed it knows the identity of the thieves. They believe that the theft was carried out by a criminal organization based in the mid-Atlantic and New England, and that the stolen paintings were moved by a criminal organization through Connecticut and the Philadelphia area in the years following the theft. The FBI believes some of the art may have been sold in Philadelphia in the early 2000s.
On August 11, 2015, FBI special agent Peter Kowenhoven revealed that the two suspects of the theft, previously identified by the FBI but not revealed publicly, are deceased. In an interview with the Associated Press, Kowenhoven declined to identify the individuals.
They have questioned people, but have not arrested or prosecuted anybody. Again, the puzzling ambiguities. Why announce that you think you know who did it without any searches or prosecutions? It's one thing to not have enough evidence, but what purpose is served by announcing that you don't have enough evidence? Just recently it turned out that one of the security guards who were 'overpowered' during the incident was seen buzzing someone into the museum against policy the day before the theft. But he was not arrested.
What tactical purpose does all this caginess serve? Anyone have an idea?