Neo Rauch The images are actually refusals. They must not be seized, keep their secrets, switch in ambiguity. It was important not to know clearly when working on an image, said the Leipzig painter a year ago, the LVZ. The subject was his work on the scenography and costumes of "Lohengrin"In Bayreuthwith his wife the artist Pink Loy"If you are too unambiguous, then you produce propaganda, it is always a matter of ambivalence, always on both sides," he said.
Neo Rauch The painting "The tanner" published in "Zeit" at the end of June comes out of this frame. It's a Wutbild, a replica in oil, which seems hard to beat in terms of uniqueness. Saturday, it will be part of the GRK Golf Masters of Charity among 400 guests in the Hotel Westin Leipzig to be auctioned for a good cause. "The Tanner" is intended for an art critic who paints with his excrement, a topic at least interesting for an auction. Oh, shit, you want to exclaim.
Trigger is an essay on the right artists in the "time"
But what is the purpose of the image itself? The background is a text written in mid-May in the "Zeit" of Leipzig and Munich living art critic Wolfgang Ullrich, Under the title "On dark plaice" – echoes of "blood and earth" that one could probably hear – it was about well-meaning artists who appear today as the last defender of the freedom of the art. Even with more famous artists, writing Ullrich"There are reasons for thinking right", especially Neo Smoke".
The painter sometimes provided clues for this interpretation. Ullrich quoted from one in April 2018 in the "Handelsblatt"Interview published:" It serves primarily a East Germany popular narrative, after which Germany has a German Democratic Republic 2.0 has become. As before 1989, he sees himself surrounded by a "baggage of block keepers, peer commissioners and political commissars, who are" back ".
Difficult to understand statements that raise questions
The Dresden writer Uwe Tellkamp (who in the meantime writes for the new right-wing newspaper "Sezession") seems to him "rather a ghost of Stauffenberg", said smoke at that time also the "Handelsblatt". A statement that the strong artist MDR corrected later. He did not want to give the impression that Germany a dictatorship is. Which in turn is clearly distinguishable from the new rhetoric of the right. Difficult to grasp such statements are also part of the criticism Ullrich, What he wants to shoot Rauch's image titles such as "father's field" or "stranger", remains unclear. The fact that he creates an "autonomous counter-world" with "slightly surreal pictorial spaces" is a work of art in itself. Something like the anti-Semitic lie smoke but far away, said Ullrich as well.
In any case. smoke reacted without words, more as a caricaturist, than as a painter – and provided "Die Zeit" with the painting "Der Anbräuner" of 150 by 120 centimeters for the reprint of June 27th. The photo unfolds well below the belt: you can see a painter. In a narrow room, he sits on a chamber pot and, with his faeces, he paints a misshapen figure on a canvas, which apparently raises his hand to Hitler's salvation. Further down in the picture, the initials "W.U." are recognizable by letters similar to sausages. It's hard to believe that this is not the abbreviation of "End of the World" or "Western Union", but rather "Wolfgang Ullrich". For the "W.U.T." there is only one "T" missing, which could form the hammer located under the picture on the picture, we could return it. But this is probably going too far.
Reasons for the history of criticism
Behind this unpleasant "tan", newspapers are piled up. At the left edge of the photo, a man looks through a small window. We recognize a mustache and a dark summit. It's not okay …
This is what you know about the history of criticism. For example, it is claimed that the critic would like to be an artist himself, but without talent. That's why, instead of flogging himself, he makes his way to the real artist. Here is the reproach of slander.
The attack itself attacked with serenity: "It is now there are W and U as initials and not something else, I think rather a coincidence," said Wolfgang Ullrich the weather". And further: "I consider myself less as the addressee – than the public at large – in this respect it is a document not important but of a historical mentality."
With the auction he is now becoming public again.
of Jürgen Kleindienst