Die gesellschaftliche Relevanz visueller Kommunikation nimmt immer weiter zu. Postmoderne Bildparodien sind Teil dieser Kultur. Dabei erschöpfen sie sich nicht im Aspekt des Komischen. Johanna ...Hornauer erläutert am Beispiel ausgewählter Werke von Sigmar Polke, dass Bildparodien eine kritische Auseinandersetzung mit Geschichte als autoritativer Instanz darstellen. Ihre Untersuchung von postmodernen Bildparodien als ästhetischer Praxis und Intervention in bestehende (Herrschafts-)Diskurse entwickelt neue Analysestrategien und fördert damit unter medienkritischer Perspektive ein generelles »Lesenlernen« von Bildern, das im Museum ebenso nützlich ist wie auf Social Media.
The article explores the role of Albrecht Dürer's famous watercolour The Hare (1502) in the work of Sigmar Polke (1941–2010) who is considered one of the most prominent artists active in Rhineland in ...the post-war period. In his work, Polke repeatedly used visual materials from everyday life in West Germany, which he inserted as objets trouvés or as references and paraphrases into his paintings and other images. In art-historical and art-critical literature, Polke's quotations of The Hare have been interpreted primarily in terms of the artist's supposedly critical attitude either towards the mimetic character of Dürer's study or towards the misuse of the Old Master's imagery in consumer society. This article argues that the reflective potential of the presence of Dürer's Hare in Polke's work goes far beyond mere reference to the Renaissance artist and his study of nature. It will be shown that Polke's reference to the Hare also comments on working methods of colleagues such as Joseph Beuys, Konrad Lueg and Dieter Roth. By paraphrasing Dürer's Hare, Polke also reflects on the relationship between art and everyday life, blurring and questioning the established hierarchies.
Focusing on Sigmar Polke's Carl Andre in Delft (1968) and Rosemarie Trockel's Freude (1988), the author offers a discussion of the different ways in which the two artists have parodied Delft Blue ...fabric. Polke applied the fabric unaltered, as a readymade, using it to refer to Carl Andre's floor assemblages. Through parodic appropriation, he offered a critique of Minimalism-one informed by how it was received in Germany in the late 1960s. Trockel, 20 years later, parodied Polke own parody through a work constituted via machine knitting. In this instance, however, her focus is on value systems of Western High Art and how they marginalize the domestic and the feminine. Her parody of Blue Delft does not reinforce the fabric's lack of status but instead serves as an ironic commentary on masculinist orientations in art that have underpinned a contempt for handicraft techniques such as knitting that have historically been the province of women.
A major exhibition of Julian Schnabel's work was staged in the early months of 1987 at the National Museum of Modern Art in the Centre Pompidou in Paris, featured forty paintings and three ...sculptures. This review by Jérôme Sans gives a brief overview of Schnabel's life and career, his discovery of both the European old masters-Cimabue, El Greco, Caravaggio-and new masters like Sigmar Polke, Joseph Beuys. Sans finds in Schnabel's painting an affirmation that 1970s Minimalism had run its course.
Sigmar Polke: Films Elsaesser, Thomas
Framework,
04/2019, Letnik:
60, Številka:
1
Journal Article
Recenzirano
Self-contained and truly indifferent, this non-product film piece is successful as installation and as motion picture, as art, as non-art, and as nothing at all.2 For the rest, Hoberman regards the ...films as the home movies of a supremely gifted artist, but one who is a compulsive practical joker and irreverent trickster, and whose basic mode is irony and sarcasm, or, to paraphrase this widely held view of Polke: he is a man ofparody and pastiche, ofperformance art and political provocation. Bundesgartenschau et al. has some remarkable instances of "matching" surreal compositions, such as a man decked out with lights like a walking chandelier, or a woman's torso fitted with a horse's head made of glass. ...double exposure can refer to a way of choreographing a particular geometry of gazes, for instance, in the film Goya (ca. 1980-96), when the two old women look at us, and we look both at them and at the scene that forms the overtone or underlay. Polke, for instance, made a series of images that includes book burning by the Nazis, torture scenes from Hieronymus Bosch's triptych Garden of Earthly Delights (1500-05), and other pictures of atrocities and mutilated corpses, including the infamous image of a Buddhist monk setting himself alight in the streets of Saigon in 1963, an iconic documentary image that has come to symbolize the beginning of the worldwide protest against the Vietnam War. ...as a film theorist, rather than as a film historian, what strikes me about Polke is the way in which he can now be seen to have prepared a paradigm change that we recognize much more clearly today than would have been possible in his time.
Kontradispositive beschreibt eine dekonstruktivistische Zeichenpraxis, die an den Paradigmen ihrer eigenen Geschichte und Technik ansetzt, indem sie die Theorie der Zeichnung zu Ende denkt und so an ...ihren Grenzen fortschreibt. Es handelt sich bei diesen Randgängen der Zeichnung nicht mehr nur um neue oder andersartige Dispositive, wie diese von Pisanello bis Picasso verschiedentlich wirksam wurden, sondern um ›anti-klassische‹ Gegendispositive, die damit auch den Voraussetzungsreichtum eines scheinbar voraussetzungslosen Mediums in Frage stellen. Sechs Strategien dieser Entgrenzung werden insgesamt betrachtet, dazu gehören u.a. Geste und Automatismus bei Hartung und Pollock, Reflexion über den Topos der Blindheit bei Robert Morris, mit Derrida und Davidson sowie der konzeptuelle Nominalismus Daniel Burens, der letztlich zu einer Aufhebung der Zeichnung führt und damit im strengen Sinne kein Kontra-Dispositiv mehr entwirft.
Art defamed by National Socialism as »degenerate«, referring to supposedly »primitive cultures«, was considered »antifascist« in the Federal Republic of Germany, but whose colonial racisms were ...reflected? How were these cultural differences negotiated in the art of the FRG from 1960 to 1990? Kea Wienand discusses to what extent artists such as Joseph Beuys, Sigmar Polke, and Ulrike Rosenbach, among others, continued, altered, or criticized primitivism after 1960. She illustrates how beliefs about artistry, sexuality, gender, and history were thematized via images of cultural difference.
Die im Nationalsozialismus als »entartet« diffamierte Kunst, die auf vermeintlich »primitive Kulturen« referiert, galt in der Bundesrepublik Deutschland als »antifaschistisch«, ohne dass deren ...Kolonialrassismen reflektiert wurden.Wie aber wurde kulturelle Differenz in der Kunst der Bundesrepublik von 1960 bis 1990 verhandelt?Kea Wienand diskutiert, inwiefern KünstlerInnen wie Joseph Beuys, Sigmar Polke, Ulrike Rosenbach u.a. nach 1960 einen Primitivismus fortgeführt, verändert oder kritisiert haben. Sie zeigt auf, wie über Bilder von kultureller Differenz Vorstellungen von Künstlerschaft, Sexualität, Geschlecht und Geschichte thematisiert werden.
