Wie wird aus der Mauer Kunst? Man muss sie nur neu aufstellen (in 300 Kilo leichten Einzelteilen), ins rechte Licht setzen (mit Halogenspots vor dunklem Hintergrund) und das historische Drumherum erläutern (in einer eigens angefertigten Zeitung). Ach ja, durch berühmte Künstlerhände sollten die Brocken natürlich auch noch gegangen sein, zum Beispiel durch die von Arman, Armleder, Buren, Castelli, Chillida, Helnwein, Kabakov, Long, Noir und dreißig anderen. So jedenfalls macht es das Wallraf-Richartz-Museum, das rund um den 40. Jahrestag des Mauerbaus in der Josef-Haubrich-Kunsthalle der Stadt Köln die Sammlung von Mauerfragmenten des französischen Ausstellungsvermittlers Sylvestre Verger zeigt: 1989 - Berliner Mauer. ...

Austrian born artist Gottfried Helnwein's work is also of exemplary value, beginning with bandage action events (documented by the artist appearing in cafe's and lying in the street with his "wounded" head and face bandaged). His work depicts physical injuries which are metaphors for far deeper existential, psychological and human tragedies. Medical injuries, facial deformities and abused children proliferate throughout his work evoking primary internal anxieties. The inhumane acts of violence (child abuse, war atrocities, state oppression) and frightening images of familial estrangement that are presented in his work, constitute events which are preferred forgotten, like the nazi era, or preferred left unspoken such as familial traumas like child abuse. Helnwein also conducts a probing analysis of the individual and the self through an abundance of self portraits, each obscured by hideous facial bandages, his facial muscles, lips and eyes are stretched apart, torturingly, by varied medical instruments, now made famous by the Rammstein covers. All his images in some way evoke associations with mutilation, anguish or internal alienation. The works (frequently paintings appearing remarkably like photographs), boldly put forward social unacceptabilities never before portrayed so lucidly and so confrontingly. The many intensities produced in the work are profoundly disturbing, the impressions - uncomfortably eerie, electrocuting the eyes with a rush of haunting spatiality. ...

Автор: D.Green  
Работа поступила 26/2/2001 и уже получила 274 баллов