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The era of bloodless showrooms, where the Happening "vernissage" glaring outshone any art, is finally coming to an end. "The gallery obsolete because, first, to the opening of each already looking only at the other guests and his art is all the same and no matter, because, secondly, whether the new, still growing art collection noise to no more visitors will", Karl Heinz Schmid in Art Newspaper (May 2006) on the "discontinued model gallery" set. But who is the triptych of canapés, champagne and small talk will shed a tear behind?
Let us be honest: The art was degraded to a colorful decoration for the Medici of global capitalism, for the collecting of art was like an image campaign. And after the opening, the gallery looked like this: Three third-rate paintings, sculptures, video loops hung on the wall, because the first-class and sometimes second-rate work just at the Art Basel, Frieze Art Fair, Art Basel Miami were - and in the last corner sat the gallery owner, assistant, an intern at his laptop and looked arrogant, bored, disinterested. If that is the only salvation of the state with its public art institutions? No! "The state or city museums, as institutions, just two centuries young, unfettered art market can no longer bid for masterpieces. This gap plugs the new collector layer, which consists of wealthy beneficiaries of globalization, and, depending on individual taste, even for the museum's ennoblement, provides just what is leaving the studio, "Holger Liebs wrote in the Süddeutsche Zeitung (1.12.2006) on the" radical decline of museums. "
Truly visionary art, social change and predicts that works as an effective instrument of symbolic resistance finds today only place in the off-space. So in those non-commercial art places that do not care about market conditions and pampered zSammlergeldbörsen: In service stations (Free International Station, Berlin), living rooms (Homie, Berlin; corridor, Berlin), in the garden (garden art network, Hamburg) or just on the street. The road was, and is the only real free and democratic medium stay for the art. For it is fertile ground bloodstream of society and the ideal testing ground. It is the core of the "adventure playground city" - everything is possible with a spray can, a sticker, a marker and an idea. Painted, sprayed, glued alive -!
The road becomes a boundless gallery, everyone can be active and each is to the audience, some of the art. Whether he now wants to or not. That's the beauty of it, the radicals. And it does not just street art graffiti: "Pieces" (large-scale murals) and "tagging" (the original form: handwriting, signatures) were only the first forms of urban art. Today, every conceivable art discipline is in the public sphere: Stencil (Banksy), mosaics (Space Invader), stickers, and collagen (Obey Giant), sculptures (Mark Jenkins), performances, and invisible Theater (Improv Everywhere) or forms of communication guerrilla and Culture Jamming (politically motivated art and forms of action, which seeks the goal of reclaiming the space and the occupation of the cityscape by capital boycotted).
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Bitte einen Moment...