The return of the shaman: the Belvedere Pays Homage to Joseph Beuys on the Centenary from His Birth

"Think. Act. Convey.": Starting from Its Title, the Event Promises to Deepen into the Heritage of the German Artist

The exhibition underlines Beuys' vision about the autotherapeutic role of art

The centenary from the birth of Joseph Beuys (Krefeld, 1921) represents an unmissable opportunity, immediately seized by the Belvedere 21 in Wien, to take a closer look to the heritage of the German artist. In the Austrian capital he launched in 1967 the Fluxus performance Euresienstab, he took up the position of professor at the University of Applied Arts and he proposed some performances and many interventions to the Gallerie Nachst St. Stephan, like when in 1983 he presented 7,000 Oaks, a project that he put on a year before at the Documenta in Kassel. Starting from the title – “Think. Act. Convey.”- the exhibition intends to restore the complex paradigm of the operating models Beuys bequeathed to contemporary art. Models that focus on the body of the artist in its shamanic and mediating role and in its philosophical, social and anthropological declinations, particularly meaningful in this era marked by the social distancing. The exhibition has the capability to show the documental value of the works, their ability to serve as a feedback for the performative dimension of the artist and to underline the autotherapeutic role Beuys thought art had. The itinerary grows around the core represented by Honey pump at the workplace, which symbolizes the faith the German artist had in the power of art to change the society, a principle that supports the whole scaffold of his social sculpture doctrine.

We can also find Stag Monument, a work that refers to the northern European folklore many times evoked by the artist

In the exposition we find Stag Monument that refers to the northern European folklore many times evoked by Beuys, which symbolizes the rebirth and the regenerative ability of nature, that can also be attributed to the possible resurrection of a shattered society. The innovative environmental sensibility exudes in the display and force the viewer to a showdown. The dominant production to be found in Wien is the documental dimension and among the works standing out we find How to explain pictures to a dead hare and I like America and America likes me, that tangibly impart the spirit of the time in which they were produced. Huge and well-structured is the amount of documents which integrate the exhibition, with a focus on the time Beuys spent in the Austrian capital. The show results to be well thought out thanks to its device-friendly nature, which pushes the visitor to an active and meditative participation, just like the author would have wanted to be. Once again, Beuys shows his innovative and leading role.

Gli altri eventi per il centenario

Jeder Mensch ist ein
Übungen mit
Joseph Beuys
Until 15/08

Intuition Dimensionen des
Frühwerks von Joseph
Beuys 1946-1961
Kunsthaus Kleve
19/06 - 3/10

Beuys e Fluxus
Rheinische Technische
06 – 07

Künstler der Zukunft.
Beuys und Duchamp
Kunstmuseum Krefeld
Keiser Wilhelm Museum
8/10 – 16/01/2022


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