Zeitschrift Umělec 2004/2 >> Truths that Don’t Hold: A Bitter End for Idealists Under High Imperialism Übersicht aller Ausgaben
Truths that Don’t Hold: A Bitter End for Idealists Under High Imperialism
Zeitschrift Umělec
Jahrgang 2004, 2
6,50 EUR
7 USD
Die Printausgabe schicken an:
Abo bestellen

Truths that Don’t Hold: A Bitter End for Idealists Under High Imperialism

Zeitschrift Umělec 2004/2

01.02.2004

Ivan Mečl | en cs

On June 21, 2004, 24 hours after the opening of the Eastern Alliance exhibition in Berlin, a work by Ivan Vosecký was removed on the request of a transnational corporation. The lettering, “Kill Them All,” put on the top of the Lichtturm in Oberbaum City, Berlin, was not directed against any group of citizens or other subject. The text-installation was a sequel of a critical social series that the artist has been working on for several years, and which had already been presented in many institutional and public premises. Although the work of Ivan Vosecký is not a postmodern visual sport and solicits no sweet deluge of emotions from the viewer, the Berlin reaction came as a big surprise. In a metropolis that presents itself with pride as the center of European culture, such censorship is a sign of nascent schizophrenia. Or perhaps those traditional principles of propriety are emerging again, where unwritten rules apply and conservatism serves as a hypocritical cover for higher, more selfish interests.

And yet at issue was an effort at pure idealism. Who could imagine nowadays that an artwork could have the power to chastise the world. That would be an idealist found only in today’s art world. Idealism has been gradually forsaken by a pragmatic and seemingly liberal society. It can no longer be simply called western, because it has gained ground in Southern Africa as well as in the East of Europe. Pragmatic society showed up idealism so much that it is afraid to even let its feet get wet, and serves little more than intellectual or pop-culture hyperbole. Idealism fights with pragmatism in Afghanistan, Iraq and other countries with more realistic combat strategies. We have forgotten that the conflict between idealism and pragmatism started two thousand years ago; one overstuffed empire lost out in the end. The pragmatics of the present day are the offspring of the idealists of that past: Christians. We have inherited what is left of that. When a European says “I am an idealist” today, the translation is simple: “I can earn money for a new car.”
Let’s forget all those accumulated condemnations of idealism that relegate their propagators into ghettoes, madhouses and re-education camps. Shall we try to look at our world idealistically, and go through the junk yard of ideas and see whether there might be some idealist living in seclusion?

The Civilization of Spoiled Property Owners

Although by no means a conspiracy of educational institutions, Western society, including post-Communist countries, has succeeded not in educating a democratic public, but rather property owners. These are people who believe in possession with some transcendental relation to it and visa versa. Perhaps you can remember what our teachers told us: “If you won’t study, you will be stupid and poor.” Most Czechs carry a nursery rhyme from a Czech elementary school primer: “Ema has a bowl. Mum has Ema. Daddy has a car.” While these are just comic comments, the underlying issue can be discussed more seriously. Not all rich people are clever. Ema has a bowl because she holds it in her hands, and there is no other verifiable relationship. Mum doesn’t have Ema, she is simply her daughter who, once bored by chores, runs away from home.
Dad is sitting in a car that he has probably financed through a leasing company. Even if Dad bought it with cash, he can’t prevent any future flood from taking the car for a ride. To learn how to become an ideal owner one need only look through civic textbooks, in the constitution or at the flyers of both big and little companies that thrive on usury. For people this results in much frustration, unhappiness or maybe a little short-term contentment, but only of a lesser sort than, say, masturbation.
I want to emphasize that I am not speaking about power of the sort that emerges from property accumulation, such that for lesser beings is like ejaculation – that’s for a separate discussion. Rather, at issue is buying a TV, the delight of owning a credit card, traveling in your private transportation, and other things we long for. There is nothing wrong with these more or less practical things. The strange thing is that we want to have them for ourselves. But if we are educated that the aim of life is ownership, we should not wonder why those who lack something try to take it from us.

Private and Public Happiness

But we keep wondering and saying: “How can it be that in our democratic conditions there are still unhappy people? We have so many fundamental rights and liberties.” This doesn’t work universally. Today we have to distinguish where we want to exercise these rights and freedoms. Our democratic world has two basic spheres: the public and the private. In the present day the former is devoured by the latter.
Countries with clumsy, expensive and weak administrations tend to give way to effective and strong corporate administrations. Read: the international financial and property system. The first can hardly manage itself, let alone property, and the other one assumes this role with glee. Representatives of the first lose motivation and of the other have too much of it.
On the ground of the corporations and within reach of their interests there are other rules. Mostly they have nothing to do with the culture of behaviour and democracy. In fear of financial recourse the public sphere adjusts itself to these rules. As a person who spent nearly half of my life under Socialism I can say that conflict with the corporate interest recalls in me very unpleasant thoughts. Just like then, you can do nothing but lose until the equilibrium changes.

The End of All Big Ideals in Culture

The opportunism of many artistic activities often borders on conscious mendacity. There is fear that radical opinions will fail in an environment limited by its source of finance and complicated theoretical shallowness. Consequently many artists are limited to mere intellectual puns and involuntary exaggerations. But those only serve as a back-door escape from “clever and smart” critiques. Contemporary criticism and curatorial practice makes light of formal modernism but fails to realize that it tends to highlight artwork that could serve better as dead weight.
Ivan Vosecký is in no way a calculating esthete, and he doesn’t premeditate the results of his activities, once he is sure the gesture is correct. One of the great fathers of German philosophy, Nietzsche, has already said, “Nobody but the maker knows what is good or bad.”
Shortly after Vosecký’s sign was removed, the author issued a statement: “This text is intentionally universal. It doesn’t say who, to whom, or why. It is aimed against violence and killing altogether. For me it has a value similar to “Make peace not war.” Instead, it potently provokes questions and doubts appropriate to the schizophrenic tendencies of our time. In that is its strength. I don’t understand how anyone can relate this text towards himself, if not those who feel responsible for killing. For that an old Czech saying applies: “The wounded goose is the one who cries the most.”
Demonstrations belong on the street, critique in newspapers and money in our pocket. Fifteen years after the fall of the Berlin wall, that oft proclaimed spirit of free Berlin has long evaporated. Just like many other European cities Berlin has become a tourist magnet consisting of commercialized art squats, museums of various forms of suffering and uprisings, or spiritless parties or arties so free one’s head spins.
But beneath that nice cover, there is a community that has accepted those unwritten rules considered appropriate for a very obedient citizenship and not as a contract of any real social interests, but doctrines dictated by the international corporations. The average citizen is scared by a looming economic crisis that these companies concocted with their greediness.
German society failed to properly calculate the investment into the construction of new administrative buildings. With an ambitious and ecstatic vision that Berlin would become a new world capital bringing a windfall of profits from high-income rentals, huge business centers were put up, and they remain largely empty.
This has been going on for a few years, and many investors are on the verge of breaking down. Many of them are attempting to deal with the situation in their own ways, more or less conceptually, but with unsuccessful and confused results.
One of the crowning achievements of these attempts is a law obliging the government to subsidize developers for the rental money lost from these vacant spaces. As a consequence of aggressive lobbying, developers are in such a good situation that they don’t need to lower the rents. While the law continues to milk the government’s treasury, German economics buffers this with blood-sucking taxes. As a result, only foreign companies can afford the rent. If American companies were to rent out the bulk of Berlin’s luxury vacancies, Germany would then forgive any war, however cruel, in some faraway country.

A Europe Full of Heroes

Overheard in bars talking about Americans, Europeans are full of wrath and resolve to prevent its expansive politics. Accompanied by big mouthed gestures of America’s politicians Europe has found its role as an advocate for peace. Unless it costs anything. It is sufficient that a secretary of an American firm relays how the bosses are offended by some vaguely tangible sentence written on the outside of the facing building, and the European bucket and brush in hand rushes to get rid of the sign.
In the evening the same person offends American students in a coffee house or swears at the news about Iraq. And he goes to bed feeling like a hero. Given the power of multinational corporations, any classic form of manifestation of disapproval would be completely toothless. As long as the demonstrations are on the streets, protest petitions are written and as a result a few politicians utter something critical so as not to lose face, no responsible individual has to take the basic changes personally.
Could that European employee resign out of conviction from a company that openly supports foreign military intervention or participates in the disgustingly corrupt post-war business in victim countries? Is there a headquarters that would refuse to do business with such a company? Is there any European government that would deny that sort of tax relief that initially attracted it? No way. It will only put more energy into ensuring that the emerging embarrassing heroism doesn’t discourage the rich empire’s taste for European goodies.




Kommentar

Der Artikel ist bisher nicht kommentiert worden

Neuen Kommentar einfügen

Empfohlene Artikel

Im Rausch des medialen Déjà-vu. Anmerkungen zur Bildnerischen Strategie von Oliver Pietsch Im Rausch des medialen Déjà-vu. Anmerkungen zur Bildnerischen Strategie von Oliver Pietsch
Goff & Rosenthal, Berlin, 18.11. – 30.12.2006 Was eine Droge ist und was nicht, wird gesellschaftlich immer wieder neu verhandelt, ebenso das Verhältnis zu ihr. Mit welcher Droge eine Gesellschaft umgehen kann und mit welcher nicht und wie von ihr filmisch erzählt werden kann, ob als individuelles oder kollektives Erleben oder nur als Verbrechen, demonstriert der in Berlin lebende Videokünstler…
No Future For Censorship No Future For Censorship
Author dreaming of a future without censorship we have never got rid of. It seems, that people don‘t care while it grows stronger again.
The Top 10 Czech Artists from the 1990s The Top 10 Czech Artists from the 1990s
The editors of Umělec have decided to come up with a list of ten artists who, in our opinion, were of crucial importance for the Czech art scene in the 1990s. After long debate and the setting of criteria, we arrived at a list of names we consider significant for the local context, for the presentation of Czech art outside the country and especially for the future of art. Our criteria did not…
Contents 2016/1 Contents 2016/1
Contents of the new issue.
04.02.2020 10:17
Wohin weiter?
offside - vielseitig
S.d.Ch, Einzelgängertum und Randkultur  (Die Generation der 1970 Geborenen)
S.d.Ch, Einzelgängertum und Randkultur (Die Generation der 1970 Geborenen)
Josef Jindrák
Wer ist S.d.Ch? Eine Person mit vielen Interessen, aktiv in diversen Gebieten: In der Literatur, auf der Bühne, in der Musik und mit seinen Comics und Kollagen auch in der bildenden Kunst. In erster Linie aber Dichter und Dramatiker. Sein Charakter und seine Entschlossenheit machen ihn zum Einzelgänger. Sein Werk überschneidet sich nicht mit aktuellen Trends. Immer stellt er seine persönliche…
Weiterlesen …
offside - hanfverse
Die THC-Revue – Verschmähte Vergangenheit
Die THC-Revue – Verschmähte Vergangenheit
Ivan Mečl
Wir sind der fünfte Erdteil! Pítr Dragota und Viki Shock, Genialitätsfragmente (Fragmenty geniality), Mai/Juni 1997 Viki kam eigentlich vorbei, um mir Zeichnungen und Collagen zu zeigen. Nur so zur Ergänzung ließ er mich die im Samizdat (Selbstverlag) entstandene THC-Revue von Ende der Neunzigerjahre durchblättern. Als die mich begeisterte, erschrak er und sagte, dieses Schaffen sei ein…
Weiterlesen …
prize
To hen kai pán (Jindřich Chalupecký Prize Laureate 1998 Jiří Černický)
To hen kai pán (Jindřich Chalupecký Prize Laureate 1998 Jiří Černický)
Weiterlesen …
mütter
Wer hat Angst vorm Muttersein?
Wer hat Angst vorm Muttersein?
Zuzana Štefková
Die Vermehrung von Definitionen des Begriffes „Mutter“ stellt zugleich einen Ort wachsender Unterdrückung wie auch der potenziellen Befreiung dar.1 Carol Stabile Man schrieb das Jahr 2003, im dichten Gesträuch des Waldes bei Kladno (Mittelböhmen) stand am Wegesrand eine Frau im fortgeschrittenen Stadium der Schwangerschaft. Passanten konnten ein Aufblitzen ihres sich wölbenden Bauchs erblicken,…
Weiterlesen …
Bücher und Medien, die Sie interessieren könnten Zum e-shop
2002, 22.9 x 30.5 cm, Painting on Canvas
Mehr Informationen ...
555,60 EUR
605 USD
Astronaut, sketch - drawing, 29,5 x 20,5 cm
Mehr Informationen ...
340 EUR
370 USD
This artist and editor-in-chieftress of the magazine Bříza (Birch) has come out with a new and original erotic project. It...
Mehr Informationen ...
10 EUR
11 USD

Studio

Divus and its services

Studio Divus designs and develops your ideas for projects, presentations or entire PR packages using all sorts of visual means and media. We offer our clients complete solutions as well as all the individual steps along the way. In our work we bring together the most up-to-date and classic technologies, enabling us to produce a wide range of products. But we do more than just prints and digital projects, ad materials, posters, catalogues, books, the production of screen and space presentations in interiors or exteriors, digital work and image publication on the internet; we also produce digital films—including the editing, sound and 3-D effects—and we use this technology for web pages and for company presentations. We specialize in ...
 

Zitat des Tages Der Herausgeber haftet nicht für psychische und physische Zustände, die nach Lesen des Zitats auftreten können.

Die Begierde hält niemals ihre Versprechen.
KONTAKTE UND INFORMATIONEN FÜR DIE BESUCHER Kontakte Redaktion

DIVUS BERLIN
in ZWITSCHERMASCHINE
Potsdamer Str. 161
10783 Berlin, Germany
berlin@divus.cz

 

Geöffnet Mittwoch - Samstag, 14:00 - 20:00

 

Ivan Mečl
ivan@divus.cz, +49 (0) 1512 9088 150

DIVUS LONDON
Enclave 5, 50 Resolution Way
London SE8 4AL, United Kingdom
news@divus.org.uk, +44 (0)7583 392144
Open Wednesday to Saturday 12 – 6 pm.

 

DIVUS PRAHA
Bubenská 1, 170 00 Praha 7, Czech Republic
divus@divus.cz, +420 245 006 420

Open daily except Sundays from 11am to 10pm

 

DIVUS WIEN
wien@divus.cz

DIVUS MEXICO CITY
mexico@divus.cz

DIVUS BARCELONA
barcelona@divus.cz
DIVUS MOSCOW & MINSK
alena@divus.cz

DIVUS NEWSPAPER IN DIE E-MAIL
Divus Potsdamer Str. 161 | Neu Divus in Zwitschermaschine, galerie und buchhandlug in Berlin! | Mit U2 nach Bülowstraße