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Show text Show cached source Open source URL	Trotzdem ist es doch interessant, dass deutsche Maler in den Vereinigten Staaten im Moment mal wieder sehr gefragt sind - auch deshalb, weil der realistische Stil von Künstlern wie Rauch oder Daniel Richter vor zehn Jahren noch als rückwärts gewandt, traditionell, wenn nicht gar reaktionär galt.
Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.com as primary domain	But it’s still interesting that German painters are currently in such demand in the United States – also because the realistic styles of artists like Rauch or Daniel Richter were considered backwards and traditional, if not downright reactionary, ten years ago. What changed this perception to such a degree?

Aus dem Städtischen Museum Skopje lieh sich der Künstler dafür Tanges großes, historisches Architekturmodell - zur visuellen Ergänzung seiner Zeichnungen und als Sinnbild dessen, was einst als Zukunft galt.

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The factual and the latitude of fiction: numerous artists, especially of the younger generation, have addressed this topic. Since the fall of the Berlin Wall in 1989, the cities in Central and Eastern Europe have been continually remodeled. The transformations usually result in the disappearance of buildings with a socialist or post-socialist influence, with which the artists in Sofia, Riga, Vilnius or Dresden grew up. But the new urban planning according to western patterns doesn't just raise questions about their aesthetic legitimacy. Ultimately, they supplant any other view of the world. Thus, the building of cities becomes a question of power, and architecture becomes an instrument of ideology. Yane Calovski, who, with his recent project Ponder Pause Process at the Tate Britain dealt with that museum's warehouse in order to analyze structures of collecting and conservation, shares that view. The artist began his research in 2004, when the Macedonian government wanted to sell centrally-located plots of land in the city in order to create space for - among other things - a new United States embassy. Master Plan, a continuous conceptual work, was part of the exhibition The Rest of Now, at the 7th Manifesta in 2008 in South Tyrol. For that show, the artist borrowed Tange's large, historical architectural model from the Museum of the City of Skopje - as a visual complement to his drawings, and as a symbol of what was once seen as the future.

Die Kultur des Ostblocks sollte blamiert, die bis dahin unangefochtene Autorität der europäischen Kunsthauptstadt Paris erschüttert werden. Bei diesem Wettbewerb ging es nicht primär um den Rang und die Qualität der Kunst, sondern um Politik: Die Pariser Kultur galt den Amerikanern als kommunistisch unterwandert.

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Even in the fine arts, America pursued its hegemony and gradually fortified it. The culture of the Eastern Bloc was to be made ridiculous, the previously unchallenged authority of the European cultural capital of Paris jarred. It was a race that wasn’t primarily about the level and quality of the art, but about politics: the Americans considered Parisian culture to be infiltrated by communists. And indeed, exceptional artists and influential intellectuals, above all Picasso and Léger, were party members. Yet it goes without saying that the political exploitation didn’t mar the aesthetic integrity or achievement of the New York artists.

Zugleich galt für uns aber auch das berühmte Statement des britischen Soziologen Stuart Hall: "Ein schwarzer Mann, der mit einer schwarzen Kamera fotografiert, macht nicht notwendigerweise eine gute Aufnahme."

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The 1980s also coincided with the rise of the academy in photography and a critique of the kind of documentary work that had emanated from the Family of Man tradition. The "otherness" of subject matter fell into theoretical and political disrepute. Of course, this applied to us as well, and as Stuart Hall once famously remarked, "a black man using a black camera doesn't necessarily make a good photograph." When I finally began to take a series of research trips to India, what I found was a great deal of commercial and editorial photography-and very little of the critical kind. The academy hadn't reached here as yet. Role models and mentoring were the order of the day. In the mid-century it had been Cartier-Bresson and his agency Magnum, which lives on in the work of Raghu Rai. Later, interventions came from the US: Mary Ellen Mark, Mitch Epstein, and even Lee Friedlander. Young Indians left the country in search of a photographic education. Many went to the US, instead of the more traditional British schools.

"Schon damals galt die Art, wie ich male, nicht gerade als modern. Viele meiner Kommilitonen experimentierten mit Videos. Meine Lehrer kamen von der Op Art. Abstraktion war mir aber immer fremd. Ich brauche die Auseinandersetzung mit dem Modell und dem Raum."

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As a painter Artukovic continues determinedly along his own path. Even in his academy days, he was relatively alone with his figurative painting. "At that time, the way in which I painted was already considered not exactly modern. Many of my co-students were experimenting with videos. My teacher came from Op Art. But abstraction was always alien to me. I need interaction and debate with the model and with space." The time in Berlin has not always been easy for Artukovic. It is difficult to find one's feet here with such an attitude to painting. Once, he tells me with a laconic smile, he played host to a group of wealthy collectors from the USA in his studio. "One woman leafed rapidly through my portfolio. She didn't buy anything, sure, but she did say: 'Keep painting.' And that's what I have done."

A Biennial of Creative Video stieß auf eine enorme Resonanz. So galt es rund 23.000 Videos aus 91 Ländern zu sichten und die innovativsten Arbeiten für eine Shortlist auszuwählen. Über 100 Beiträge haben es in die engere Auswahl geschafft.

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The curators at the Guggenheim Museum in New York had a lot to do in recent weeks. There was an enormous response to the project YouTube Play. A Biennial of Creative Video, which the Guggenheim initiated together with the video platform YouTube. The curators had to watch around 23,000 videos from 91 countries and shortlist the most innovative ones. More than 100 videos were selected for final consideration. The works include submissions from students, video artists, photographers, composers, video game programmers, a Swedish rock band, and a South African hip-hop group. They can now be seen on the YouTube Play channel and at kiosks at the Guggenheim museums in New York City, Berlin, Bilbao, and Venice. At the Deutsche Guggenheim café, there is a special display showing the videos. "The selection is diverse in technique, subject matter, geography, and professional status, which reflects the increasing accessibility of new media technologies around the world", notes Nancy Spector, Deputy Director and Chief Curator of the Guggenheim Foundation. "We believe the shortlist reveals the abundance of creative energy this project evoked."

Es ist noch nicht lange her, da galt ein Umweltfreund als blauäugiger Romantiker, der vom Fortschritt nicht viel verstanden hat und lieber realitätsfernen linken Idealen hinterher träumt, anstatt mal an Arbeitsplätze und Wirtschaftswachstum zu denken.

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The color of Tue Greenfort's eyes is green. It's not that long ago that ecologically minded people were regarded as wide-eyed romanticists who understand little about progress and preferjobs and economic growth. When Tue Greenfort is occasionally called an "environmental artist," the term still carries the unjustified connotation of a naïve activist. Tue Greenfort, born in 1973 in the rural south of Denmark, is a realist firmly rooted in the here and now. It's just that he understood certain necessities early on-even before the awkward term "sustainability" became popular. There's nothing wide-eyed and unrealistic about that.

Thomas Ruff gehörte zur ersten Generation der Becher-Schüler. Hier galt noch ungebrochen das Dogma, Dokumentarisches habe Schwarzweiß zu sein. "Deshalb," erzählt der Künstler in München, "habe ich diese Interieurs auch brav in schwarz-weiß angefangen. Ungefähr 10 Stück und ich war sehr glücklich damit."

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Thomas Ruff belongs to the first generation of Becher students; the prevailing dogma was that documentary work had to be black and white. "That was why, as the artist explained in Munich, "I obediently began these interiors in black and white. I made around 10 pieces I was very happy with. Until he encountered colorthrough photographs that he made of the works of his friends for catalogues, for the most part sculptors. "At some point I began to use the color methods I developed for my Interieurs, and I found that they looked better than the black and white photographs. My colleagues all said "you cant do that. But then I asked Bernd Becher and he said Looks good. Keep doing the color. This encouragement helped me continue in color.

Künstler äußerten sich zumeist nur ungern über ihren Glauben. Religiosität galt als Privatsache. Zugleich widmen sich immer mehr Ausstellungen demThema Kunst und Religion: etwa 2006 die Biennale in Singapur mit dem Titel Belief, 2008 Traces du Sacré im Pariser Centre Pompidou, Medium Religion im Karlsruher ZKM 2009 oder Animismus im Berliner Haus der Kulturen der Welt 2012.

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Controversial debates about the Catholic Church, Middle East policy, and Islam indicate that religion is seen, now more than ever, as an integral part of cultural identity. But religious art has long been taboo in the white cube. Artists have only reluctantly spoken about their own beliefs. Faith is considered private. At the same time an increasing number of major exhibitions have been dedicated to the theme of art and religion, including the 2006 Singapore Biennial entitled Belief, the 2008 show Traces du sacré at the Centre Pompidou in Paris, Medium Religion in 2009 at the ZKM in Karlsruhe, and "Animismus" at the Haus der Kulturen der Welt, Berlin, in 2012. Is there a return of the religious in contemporary art?

"In Lateinamerika galt Abstraktion als utopische, fortschrittliche Idee und als oppositionelle Stimme gegen den politischen und kulturellen Mainstream. Abstraktion wurde als Sprache begriffen, die nationale Grenzen überwindet, aber zugleich auch neue kulturelle Grenzen markiert. Es ist interessant zu beobachten, wie sich die Gemeinsamkeiten, aber auch die Unterschiede in den einzelnen Ländern entwickelt haben: in Venezuela ging es vor allem um optische Phänomene und kinetische Kunst, in Brasilien um den Körper, in Argentinien um phänomenologische und kinetische Ansätze. Mit der Kultur der Anden-Region setzte man sich in Kolumbien und Uruguay auseinander, während konzeptuelle Ansätze vor allem in Venezuela und Argentinien zu finden sind."

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"From the implicit universality of the 'international style' in modernist architecture to the 'international' vision of Constructivism, or the cross-cultural borrowings of Americans like Pollock or Marden, abstraction has always been associated with internationalism", explains Espinel. "In Latin America, abstraction was adopted as a Utopian notion linked to progress and to voice opposition to mainstream political and cultural establishments. Entangled in politics, abstraction was conceived as a language that transgresses national borders but creates new cultural ones, and it serves context-specific desires too. It's interesting to note the differences between each country and how they developed singularities, optical and kinetic (Venezuela), bodily (Brazil), phenomenological and kinetic (Argentina), Andean (Colombia, Uruguay), conceptual (Venezuela, Argentina) which they all shared but were stronger in certain places."

Seine Aufgabe scheint klar definiert: "Die Fotografen betrachteten sich meist als Teil des liberalen Lagers und nutzten ihr Können um die politische Realität darzustellen alles andere galt als frivol", so Hugo, der 1994, im Jahr der ersten demokratischen Wahlen in Südafrika, sein Abitur macht.

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In 2004-05, for his project Looking Aside, Hugo made portraits of people we usually like to turn away from. The works are studio portraits resembling monumental passport photographs of the elderly, the blind, and albinos, the "white-skinned blacks" who are frequently discriminated against and often persecuted in Africa. One of the images in the series is a picture of the photographer himself, because Hugo regards himself as an outsider, as well: "My homeland is Africa, but I'm white," he says. "I feel African, whatever that means, but if you ask anyone in South Africa if I'm African, they will almost certainly say no. I don't fit into the social topography of my country and that certainly fuelled why I became a photographer." Following a brief time as a photojournalist, Hugo realized that as a six-foot-tall white man, he brings a presence into many situations that makes it impossible to remain in the background as a "neutral observer." At the same time, the act of photographing and the power structures it implies seem more and more questionable to him. To this day, he ponders the broken relationship to photography and the medium's intrinsic mechanisms. He frequently states that his mistrust of photography goes deep.

In den Manifesten und Produkten der Schule äußerte sich ein Modernisierungsschub, der mit dem beschleunigten Rhythmus der industriellen Produktion den Talmiglanz des untergegangenen Kaiserreiches beschwingt abstoßen wollte. Die politischen Hoffnungen der Weimarer Republik wurden im Bauhaus in programmatische Konzepten gegossen: über die Gestaltung das alltägliche Leben zu reformieren galt als Ziel.

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Founded by the architect Walter Gropius in 1919, Bauhaus stood – like no other art or factory school – for the claim of the arts to social relevance. A push for modernization was expressed in the manifestos and products of the school seeking to use the accelerated rhythm of industrial production to retire the false shine of the demised empire with élan. The political aspirations of the Weimar Republic were transformed into programmatic concepts of the Bauhaus, whose goal was to reform everyday life through design. Using architecture, furniture, fabric, glass and ceramics as a means and the visual language of advertising for transparency, the breaking down of borders and hierarchies.

Bis vor kurzem galt in New York die verschärfte Form des Code Orange - der Code Orange Plus. Im Herzen des Finanzbezirks, nur einen Steinwurf entfernt von Ground Zero , leitet ein raffiniertes System von Absperrgittern mit Digitalkameras ausgerüstete Touristen vorbei an wetterfesten Kontrollstationen und Nationalgardisten.

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Until recently, it's been Code Orange Plus in New York. At the heart of the Financial District, inches away from Ground Zero, a subtle arrangement of barriers, weather-proof check-points and National Guards give way to a gaggle of tourists armed with digital cameras. Elsewhere, the extended anxiety of a post -9/11 world is carefully tucked away, rarely mentioned except when the TV stations cart out the code signals, just in time to remind us that the world is not yet quite at peace.. In New York, talk circles around the selection of the official memorial: is it really that bad? Is it really that good? The Mayor does what he can to settle tensions between the families of the victims and the families of the rescuers, each of whom want separate forms of recognition. It's an argument that ignores the fact that destruction is not selective and that New York, in any case, is certainly mending.

Lange galt Italien als real existierendes Arkadien, wo sich, wie es Goethe formulierte, "schöne Natur paart mit antiker Kultur". Waren es in den Zeiten der Grand Tour vor allem Stiche, die das kanonisierte Motivrepertoire der Italienlandschaft im Norden Europas verbreiteten, wurden sie in der zweiten Hälfte des 19. Jahrhunderts mehr und mehr durch die Fotografie abgelöst.

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For a long time, Italy was considered an arcadia that really existed, where, as Goethe formulated it, "beautiful nature is paired with antique culture." While during the time of the Grand Tour it was chiefly engravings that spread the canonized repertoire of Italian landscape motifs to northern Europe, these were increasingly replaced by photography in the second half of the 19th century. Yet despite the modern medium, the motifs remained the same: craggy coasts, idyllic folklore with fishermen on the shore. Especially popular was the landscape with ruins, which was both sublime and romantic.

Staatliche Repression deutet sie auch rechts im Bild an: Dort trifft Ernst Ludwig Kirchners Der Trinker (Selbstbildnis) von 1915 auf die polnischen Punkbands Kosmetyki Mrs. Pinki und Brygada Kryzys, die in den 1980er-Jahren mit Auftrittsverboten belegt wurden ein Schicksal, das sie lose mit dem expressionistischen Maler verbindet, der bei den Nazis als "entartet" galt.

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But then she continues: the image stands for emergence, as the car and the decisive expression of the two signalize. They use the umbrella to protect themselves from various outrages. The cryptic "PIT - 53" topples into the image here, an abbreviation for a Polish tax form that no human is capable of filling out, according to Olowska erklärt. At least she isn't. To the right of the image is an allusion to state repression: Ernst Ludwig Kirchner's The Drinker (Self-Portrait) from 1915 meets the Polish punk bands Kosmetyki Mrs. Pinki and Brygada Kryzys, which received performance prohibitions in the 1980s-a fate that loosely connects them to the Expressionist painter, who was declared "degenerate" by the Nazis.

Die flüchtigen Zeichnungen, Wörter und Diagramme veranschaulichen Beuys Lehrtätigkeit ganz unmittelbar als fließender Prozess, der Diskussionen und Denkvorgänge initiiert. Nur selten gab der Professor seinen Studenten konkrete Aufgaben. Stattdessen galt es, eigene Inhalte, Ziele und Lösungswege zu finden.

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At the same time, Beuys is interested in more than theory and action. "It is often maintained that in my class everything is only conceptual or political. But I put the greatest value on something coming out of it that is sensuously accessible according to the broad principles of the theory of recognition," he says in 1972 in an interview with Georg Jappe. "The most important thing to me is that people, by virtue of their products, have experience of how they can contribute to the whole and not only produce articles but become a sculptor or architect of the whole social organism. The future social order will take its shape from compatibility with the theoretical principles of art."The Minneapolis Fragments from the Deutsche Bank Collection also show how much his teaching methods are based on these theoretical principles. The series was made in 1974 on the occasion of a lecture he gave at the university there. The fleeting drawings, words and diagrams lend immediate visual form to Beuys' teaching as a process in flux that sets discussions and thought processes into motion. The professor seldom gave his students concrete assignments. Instead, it was a matter of finding one's own personal content, one's goals, and the paths one needed to take to attain them.

Show text Show cached source Open source URL	Cheryl Kaplan: Der Dichter John Ashbery schrieb, dass Ihre Fotografien "uns in die abenteuerlichen Anfänge der Fotografie zurückversetzen, als die Aufregung über die Entdeckung noch völlig unbekannter Landstriche zugleich den erstaunlichen technischen Mitteln galt, mit denen es möglich wurde, diese Landschaften der breiten Öffentlichkeit zugänglich zu machen."
Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.com as primary domain	Cheryl Kaplan: The poet John Ashberry wrote that your photographs “take us back to the dawn of epic photography, when the shock of encountering remote sites was compounded by the amazing technical feats that brought them into view.” Reviewers took that literally, implying that you follow a 19th-century tradition. Is that true or misguided?

Anknüpfend an das Exil, das David Bowie, Iggy Pop oder Depeche Mode im Berlin der siebziger und frühen achtziger Jahre gefunden hatten, galt das Elend und die graue, bleierne Härte der nun wiedervereinigten Stadt als "inspirierend" und "zeitgemäß".

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Although other regional centers such as Frankfurt or Munich had their own techno scenes, the two icons of techno and dancefloor culture were born in the cellars around Potsdamer Platz, Berlin's destroyed city center: the WMF Club and Tresor. The fact that these cellars were products of the Second World War and Germany's later division tickled the cozy feeling of horror already reflected in the ravers' camouflage and combat look, a kind of superficial contemplation on a historical, martial, and political legacy. The perfect anti-idyll had apparently been found. Borrowing on the feeling of exile that David Bowie, Iggy Pop, or Depeche Mode had found in Berlin of the seventies and early eighties, the grey misery and leaden severity of the reunified city was considered to be "inspiring" and "up to date." Whether in the pop songs of Norwegian bands such as Briskeby or the novels of Norman Ohler, Berlin - and especially the cheerily post-modern East Berlin - was turning up everywhere as a location steeped in aura. Due to a dialectic twist of the zeitgeist, the anti-idyll had become the new idyll. The zeitgeist of the late nineties and the new millennium had found its place.

Der Kritik galt Yang schon bald als Künstler, der sich mit den Lebensentwürfen und Problemen der neuen, jungen Mittelklasse Chinas auseinandersetzt: "Seine Charaktere sind Gefangene ihrer Gefühle gelähmt von der Unsicherheit, dass sie nicht wissen, wie sie reagieren sollen, weil sie nicht sicher sind, ob das Problem nun in der Gesellschaft oder in ihnen selbst liegt", schrieb etwa die italienische Sinologin Claudia Albertini.

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Critics soon regarded Yang to be an artist who investigates the lifestyles and problems of Chinas new young middle class: "His characters are slaves to feelings of uncertainty and vagueness that they dont know how to react to because they dont know whether the problems stem from society or from themselves," wrote the Italian sinologist Claudia Albertini. Yet Yangs films and photographs are neither sociologically nor politically offensive. His characters are sketched in a way that remains far too undefined to be pinned down in that way. Yangs work does not embody the harsh criticism of the Chinese political system to be found in the work of his colleague Ai Weiwei, who aggressively investigates the results of corruption in the construction industry or the manipulation of Internet forums on the part of the state security.

Das galt als Mainstream. Ich hingegen fand New Wave fade und zu kalt. Mir missfiel dort das gleiche wie in der Kunstszene: diese Trockenheit, die ich auch an der Minimal Art nicht mochte, und das Konzeptlastige.

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It was considered mainstream. On the other hand, I found New Wave dull and too cold. What turned me off were the same things as in the art scene: a dryness that I also didn’t like in Minimal Art; all that heavy concept. We hated the stuff. I always say “we,” but each of us had his own preferences and intentions, which made our works completely different from one another’s. It’s only seen as one brand of soup from the outside.

Die Promotion an der Frankfurter Johann Wolfgang Goethe-Universität war "aus wissenschaftlichen Gründen" erst nach dem Tod des Künstlers, 1986, möglich geworden. Damals galt Beuys als das Künstlergenie schlechthin.

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For "scholarly reasons," it was only possible to write a doctoral dissertation on Beuys’ work at Frankfurt’s Johann Wolfgang Goethe University after his death in 1986. At that time, Beuys was considered to be the artistic genius par excellence. He had broadened the definition of art as no other artist had before him. With his use of materials such as animal fat and felt and his concept of the "social sculpture," he had become the undisputed pioneer of post-war art, challenging people’s cherished values. His own experiences in the Second World War, in particular his spectacular survival after having been shot down over the Crimea in his dive-bomber, not only became the stuff of later legends, but also created the symbols of warmth and cold that were to pervade his works: melting fat, felt, bread, and honey standing for warmth and spiritual sustenance, in opposition to cold rationality, materialism, and death.

Bereits in der Antike galt Lorbeer als Symbol für Ruhm und Ehre. Herausragende Dichter, Sportler und Feldherren wurden mit einem aus seinen Zweigen geflochtenen Kranz geschmückt. Alloro italienisch für Lorbeer lautet jetzt der leicht ironische Titel einer Ausstellung im Berliner Haus am Waldsee, die alle acht Villa Romana-Preisträger der Jahre 2009/10 vorstellt.

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Since antiquity, laurel leaves have been a symbol for fame and honor. Exceptional poets, athletes, and generals were decorated with a crown woven from laurel branches. AlloroItalian for laurelis the somewhat ironic title of an exhibition in Haus am Waldsee in Berlin that introduces all eight Villa Romana prizewinners of the year 2009/2010. For the first time, the artists are showing together with current work, some of which was conceived exclusively for the show. The Villa Romana Prize is not only the oldest German art prize, but also the longest-term instance of Deutsche Banks cultural commitment. The bank has been sponsoring this renowned prize for contemporary art in Germany since the 1920s. The Deutsche Bank Foundation continues in this tradition and sponsors the activities of the Villa Romana Association.

Beuys berühmte Formel "Kunst=Kapital" galt auch hier, denn die Unternehmenssammlung ermöglichte die unmittelbare Begegnung mit zeitgenössischen Positionen außerhalb etablierter Institutionen wie Museen oder Galerien.

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Arts unique importance for social development that Beuys repeatedly stressed is also reflected in the birth of the Deutsche Bank Collection in the late seventies. Beuys famous formula "art = capital" was applied here to provide a direct encounter with contemporary works outside established institutions such as museums or galleries. As cultural capital, art was to benefit all staff members, visitors, and the general public through its presentation at the workplace. The fact that the top floor of one of the Deutsche Bank twin towers in Frankfurt was dedicated to Joseph Beuys until its modernization in 2008 underscores the great influence the artist has exerted on the collection.

So erklomm er 1993 das monumentale Majakowski-Denkmal. Der Dichter galt zunächst als Symbolfigur der Avantgarde, ließ sich dann aber vom Sowjetregime vereinnahmen. Mit seinem waghalsigen Unternehmen wollte ihn Osmolovsky wieder in den Kreis der progressiven Künstler zurückholen.

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Osmolovsky, however, used his newly won freedom to put on anarchistic performances. In 1993, for instance, he climbed the monumental Mayakovsky Memorial. At first, the poet had been a symbol of the avant-garde; later, however, he allowed himself to be taken in by the Soviet regime. With his daredevil project, Osmolovsky sought to restore Mayakovsky to the inner circle of progressive artists. Since 2001, however, he has refrained from spectacular actions of this nature. Now, his work focuses on an investigation of abstraction, such as in his series Goods, which was shown at the documenta 12. These eleven bronze sculptures are based on the turrets of armed tanks.

Die 1950 in Bagdad geborene Hadid studierte in den siebziger Jahren in London unter anderem bei dem niederländischen Architekten Rem Koolhaas und galt lange Zeit als theoretische Vordenkerin der Architektur.

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The headquarters of the BMW Works in Leipzig is Hadid’s first industrial building. Hadid, who was born in 1950 in Baghdad, studied in London in the 70s with, among others, the Dutch architect Rem Koolhaas; for a long time she was considered to be a purely theoretical thinker in architecture. Her deconstructivist designs were awarded in international competitions but were long considered impossible to build. Projects of hers that have been realized have been the fire station building of a furniture factory in Weil am Rhein in 1993; a pavilion for the State Garden Show of Baden-Würrtemberg in the same location in 1999; a ski-jumping platform in Innsbruck in 2002; an exhibition building in Cincinnati, USA, in 2003; and the Phaeno science center in Wolfsburg in 2005.

Für Benjamin galt Paris als der Ort, an dem der Kapitalismus in Kultur aufgegangen war. Nicht ohne Folgen, denn vom technischen Fortschritt bis hin zur Begeisterung für Luxusgüter in den ultramodernen Kaufhäusern sah Benjamin nur die Hölle einer ewigen Wiederkunft, "in der das Gesicht der Welt gerade in dem, was das Neueste ist, sich nie verändert".

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For Benjamin, Paris was the place where capitalism turned into culture. This did not, however, occur without ramifications: to Benjamin’s mind, technological progress and the hunger for the luxury goods of the ultramodern department stores were a hell of eternal return "in which the face of the world never changes, especially in what is newest." It was precisely this criticism of modernism that Kosuth sought to carry on in his work in Kassel. Majerus’ performance, however, aimed at another point entirely: hadn’t he taken on the role of a masked flaneur strolling amidst the decoratively installed sentences? And hadn’t he also – in keeping with Benjamin – drawn a connection between the commodity cult and the culture that so frowns upon consumerism, in which a stroll past a shop window begins to look a whole lot like a walk around the art arena?

Die Bedeutung von Kunst für die Gesellschaft, die Beuys immer wieder betonte, spiegelt sich auch in der Entstehung der Sammlung Deutsche Bank Ende der siebziger Jahre. Beuys berühmte Formel "Kunst=Kapital" galt auch hier.

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Art’s meaning for society as Beuys stressed it again and again is also reflected in the birth of the Deutsche Bank Collection in the late 1970s. Beuys’ famous formula "Art = Capital" also applies here, but not in the sense that the art is regarded as a decorative investment for the upper floors of the board. As the motto "Art at the Workplace" expresses, the collection’s founders were committed to enabling people to have a direct encounter with contemporary positions outside the established institutions, such as museums or galleries. Art is cultural capital that should benefit all staff members, visitors, and the public. Beuys’ great significance for the collection is also manifested in the top floor of one of the twin towers in Frankfurt, which is dedicated to the artist. The main focus of interest is his drawings, a medium of key importance both for Beuys and for the collection. Beuys regarded drawing as "an extension of thought" that directly reflects the creative process.

Überraschend war es nicht, dass dann Leckey die bedeutendste britische Auszeichnung für zeitgenössische Kunst erhielt. Galt doch der 1964 geborene Künstler nicht nur bei den Buchmachern als der diesjährige Favorit.

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This time, it was neither a pottery-making transvestite nor a picked shark-and already journalists were bemoaning one of the most boring Turner Prize shortlists ever. Yet it's precisely this dearth of obvious shock tactics that makes the works of the four nominees-Runa Islam, Mark Leckey, Goshka Macuga, and Cathy Wilkes-so interesting. In the end, it came as no surprise that it was Leckey who won this most important British award for contemporary art. It seems the 1964-born artist was this year's favorite among more than just the bookies. Singer Nick Cave was asked to present the 25,000-pound prize, awarded in the past by stars like Madonna and Yoko Ono. An apt choice, as Leckey, whose work is part of the Deutsche Bank Collection, is himself a musician who plays in his own band called donAteller.

Die Konstruktion macht erst Sinn, als sich die Männer darauf zu einer lückenhaften menschlichen Pyramide formieren. Bei Aufmärschen und Paraden galt diese geometrische, monumentale Form aus individuellen Körpern einst als Sinnbild für die Macht des revolutionären Kollektivs.

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Her interest in social change could already be detected in Berlin in the work P = W / t (Power) and W = F * s (Work) (2008). These formulae can be translated into "Power equals work divided by time" and "Work equals force times shift". The videos were the artists final project at the Warsaw Academy and were shown in 2008 at the 5th Berlin Biennial. In a dual projection, one side shows an empty white squash court with red markings and squash balls lying around, which invisible forces bear upon until they fly over the walls, as though hit by a ghostly hand. On the opposite screen, a group of workers erects a large triangular metal structure on an empty lot. The construction only makes sense after the men climb it to form a human pyramid with gaps. At marches and parades, this monumental geometric form of individual bodies was once regarded as a symbol for the power of the revolutionary collective. But in Molskas video, the structure has already entered the vicinity of parody of utopian constructions. Entirely lost, it stands in a no-mans-land and the sullen men are anything but radiant "heroes of labor".