Joseph Beuys citáty (51 citátov) | Citáty slávnych osobností

“Truth must be found in reality, not systems.”

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Joseph Beuys

Zdroj: What Is Art?: Conversations with Joseph Beuys

“This most modern art discipline - Social Sculpture / Social Architecture - will only reach fruition when every living person becomes a creator, a sculptor, or architect of the social organism.”

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Joseph Beuys

1970's, I Am Searching For Field Character,' 1973/74

“Only then would the insistence on participation of the action art of FLUXUS and Happening be fulfilled; only then would democracy be fully realized. Only a conception of art revolutionized to this degree can turn into a politically productive force, coursing through each person, and shaping history.”

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Joseph Beuys

1970's, I Am Searching For Field Character,' 1973/74

“But I saw the relationship between people, I saw their thoughts, I saw their kind of expressionistic behavior in every difficult situation. I saw all the time the unclearness in the psychological condition of the people. You know, that was the time called the 'Roaring Twenties' and I felt that this expressionistic behavior, this unformed quality of soul power and emotion of life... I saw it, that it would lead to a kind of catastrophe. That was my general feeling.”

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Joseph Beuys

Zdroj: 1980's, Interview with Kate Horsefield, 1980, pp. 62-63; Also cited in: Video Data Bank, School/Art Institute Chicago, (1981) Profile, Volume 1

“For instance the idea of intuition, imagination, inspiration.... is related in the principle to an invisible world.... when I call these drawings 'The Secret Block' then I try to stress this part of reality as the most important part because spiritual existence is firstly... I find if we are only confronted with this hard part of the world, this already done part of the world, we are not.... related to the whole idea of reality.... the mission of the art is to make visible the whole reality..”

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Joseph Beuys

Quote from 'A. Beuys in the wilderness', 1974 (lecture at the Ulster Museum); as cited in Joseph Beuys and the Celtic Wor(l)d: A Language of Healing, Victoria Walters, LIT Verlag Münster, 2012, p. 198
1970's

“He [ Marcel Duchamp ] entered this object [the 'Urinal' ready-made] into the museum and noticed that its transportation from one place to another made it into art. But he failed to draw the clear and simple conclusion that every man is an artist.”

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Joseph Beuys

as quoted in Joseph Beuys and the Celtic Wor(l)d: A Language of Healing, by Victoria Walters, LIT Verlag Münster, 2012, p. 206
Quotes after 1984, posthumous published

“Art is the only power to free humankind from all repression.”

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Joseph Beuys

Zdroj: 1970's, Joseph Beuys... Public Dialogue' 1974, p. 5

“People are very shortsighted when they argue that way, when they say: Beuys makes everything with felt, so he's trying to say something about the concentration camps [of the German Nazi regime]. Nobody bothers to ask whether I might not be more interested in evoking a very colorful world as an anti-image inside people with the help of this element, felt. So it's a matter of evoking a lucid world, a clear, lucid, perhaps transcendentally spiritual world through something which looks quite different, through an anti-image.”

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Joseph Beuys

Beuys, 1997, p. 11, xix); as quoted in Joseph Beuys and the Celtic Wor(l)d: A Language of Healing, by Victoria Walters, LIT Verlag Münster, 2012, p. 192
Quotes after 1984, posthumous published

“EVERY HUMAN BEING IS AN ARTIST who -
from his state of freedom -
the position of freedom that he experiences at first-hand -
learns to determine the other positions in the TOTAL ARTWORK OF THE FUTURE SOCIAL ORDER!”

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Joseph Beuys

1970's, I Am Searching For Field Character,' 1973/74

“I just want to encourage everyone to take this into their own hands, the educational process... We don't need a brilliant talent somewhere. Precisely the ability that one has at the moment must be put to work.”

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Joseph Beuys

1970's, Every Man an Artist: Talks at Documenta 5', 1972

“QUESTION: A well-known saying of yours asserts that 'Every man is an artist.' If every man is an artist, then why have art academies and art professors at all?
BEUYS: To be sure, 'every man is an artist' in a general sense: one must be an artist for example, to create self-determination. But at a certain stage in his life every man becomes a specialist in a certain way; one studies chemistry, another sculpture or painting, a third becomes doctor, and so on. For this reason we understandably need special schools.”

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Joseph Beuys

Götz Adriani, ‎Joseph Beuys, ‎Winfried Konnertz (1979) Joseph Beuys, life and works. p. 255
1970's

“I try to go further on over the threshold where modern art ends and anthropological art has to start.”

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Joseph Beuys

Quote by Furlang, 1974, p. 7; as quoted in Joseph Beuys and the Celtic Wor(l)d: A Language of Healing, Victoria Walters, LIT Verlag Münster, 2012, p. 206
1970's

“School is universal. That means, on the street – when you talk about these things with people at the grocer's; the school is at the grocer's at that moment.”

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Joseph Beuys

1970's, Every Man an Artist: Talks at Documenta 5', 1972

“No area of life will be free from this concept in the future. That means that people will recognize the social organism, and they must think within this context. They must not only think about schools but also about the legal system and economic structures. They must always think through the entire social organism…”

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Joseph Beuys

1970's, Every Man an Artist: Talks at Documenta 5', 1972

“In discussing his work [the art of Marcel Duchamp, ] it is necessary to avoid overrating his silence. I hold him in a very high esteem, but I have to reject his silence. Duchamp was simply finished. He had run out of ideas; he was unable to come up with anything important… I would say that even the bourgeois tendencies in Duchamp's work – i. e., a form of provocative, bohemian behavior intended to 'épater le bourgeois'- follow the same path. Duchamp started out from here and wanted to shock the bourgeoisie, and because of that he destroyed his creative powers… The content of Duchamp's silence refers to the aim of leaving the subconscious passive, of developing it. This is the aspect of Duchamp, which is related to Surrealism. The surrealists asserted that they could live with their subconscious; they thought they were above reality, but instead they were beneath it. They thought they could fish in muddy waters…. but to my mind, the images which emerged have a repressive effect.”

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Joseph Beuys

Quote in an interview with , 1986; republished in: Joseph Beuys, Carin Kuoni. Joseph Beuys in America: Energy Plan for the Western Man. New York, 1993.pp. 169-170
Beuys refers in his quote to the so-called 'Silence of Marcel Duchamp', the period that Duchamp stopped creating art
1980's

“I go to the typical state school and try to infiltrate it. Yes!... One can do something in the institutions in trying to infiltrate them, and outside one can do something to set a model in place... One must work with divers methods anyway. One must always carry on with what is possible.”

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Joseph Beuys

1970's, Every Man an Artist: Talks at Documenta 5', 1972

“Here my idea is to declare that art is the only possibility for evolution, the only possibility to change the situation in the world. But then you have to enlarge the idea of art to include the whole creativity. And if you do that, it follows logically that every living being is an artist – an artist in the sense that he can develop his own capacity. And therefore it's necessary at first that society cares about the educational system, that equality of opportunity for self-realization is guaranteed.”

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Joseph Beuys

Zdroj: 1970's, Joseph Beuys... Public Dialogue' 1974, p. 5

“I had the feeling that another kind of life -- perhaps in a transcendental area -- would give me a better possibility to influence, or to work, or to act within this contradiction. So, this was my general feeling: on the one side, this beautiful undamaged nature form which I took a lot and had a lot of possibilities for contemplation, meditation, research, collecting things, making a kind of system; and on the other side, this social debacle that I felt already as a coming dilemma.”

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Joseph Beuys

Zdroj: 1980's, Interview with Kate Horsefield, 1980, p. 62; also quoted in: Video Data Bank, School/Art Institute Chicago, (1981) Profile, Volume 1

“It is a special kind of secret how these Asiatic elements [of American Indians] came over the Bering Strait long ago. It's the same with the coyote. When I worked with the coyote [this quote refers to the performance by Beuys when he was locked up together with a coyote in a cage for a few days in René Block Gallery, New York City in 1974], I had the idea that it was not an indigenous animal. It came as a wolf with the Indians over the Bering Strait. And this Asiatic wolf, or step wolf, changed his whole biological configuration and behavior. Then it was my idea to import the coyote once more back to Europe, and you could see it [the coyote] change back to the European wolf or Siberian wolf. It is a transformed European wolf, the coyote, how it came to the character of a brush wolf.”

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Joseph Beuys

Quote of Beuys in an interview with Alan Moore and Edit deAk, 1974; as cited in: Joseph Beuys in America: Energy Plan for the Western Man., Carin Kuoni; New York, 1993, p. 213
1970's

“For me it is the WORD that produces all images. It is the key sign for all processes of moulding and organizing. When I use language, I try to induce the impulses of this power.... the power of evolution.
But language is not to be understood simply in terms of speech and words. That is our current, drastically reduced, understanding of language... Beyond language as verbalization lies a world of sound and form impulses, a language of primary sound without semantic content, but laden with completely different levels of information.”

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Joseph Beuys

Quote of Caroline Tisdall, 1979, p. 210; as cited in Joseph Beuys and the Celtic Wor(l)d: A Language of Healing, Victoria Walters, LIT Verlag Münster, 2012, p. 180
1970's

“I think art is the only political power, the only revolutionary power, the only evolutionary power, the only power to free humankind form all repression. I say not that art has already realized this, on the contrary, and because it has not, it has to be developed as a weapon, at first there are radical levels, then you can speak about special details.”

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Joseph Beuys

Quoted in: Robert C. Morgan (1978). The Role of Documentation in Conceptual Art: : An Aesthetic Inquiry. p. 176.
1970's, I Am Searching For Field Character,' 1973/74

“Yes, now we are at the starting-point again. Now we are at our real issue: that we understand ourselves first as sites of education, for information for democracy, for tree-part structure, and so on.”

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Joseph Beuys

1970's, Every Man an Artist: Talks at Documenta 5', 1972

“I wished to go completely outside and to make a symbolic start for my enterprise of regenerating the life of human kind within the body of society and to prepare a positive future in this context… I can see such a use for the future as representing the really progressive character of the idea of understanding art when it is related to the life of humankind within the social body in the future.”

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Joseph Beuys

Quote of Beuys, in Studio International Vol. 195, (1981), p. 46
1980's

“I am interested in the creativity of the criminal attitude because I recognize in it the existence of a special condition of crazy creativity. A creativity without morals fired only by the energy of freedom and the rejection of all codes and laws. For freedom rejects the dictated roles of the law and of the imposed order and for this reason is isolated.”

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Joseph Beuys

Quoted by Germano Celant, Beuys, tracce in Italia, Amelio, 1978
1970's

“I think he [ Andy Warhol ] would be very interested in the moment that the Dalai Lama appears, being involved in such a kind of idea. Andy has always difficulties with this kind of political activities, because he works in another kind of world, but he is always... Also when he was here [in Germany] last week, he is very interested to hear a lot of new information. He has a kind of observing sense in the back of his mind. So, he is always interested to follow the development, and there is really a kind of imaginative process going on, I think.”

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Joseph Beuys

Zdroj: 1980's, Interview with Louwrien Wijers, 1981, p. 189 - in 'Joseph Beuys and the Dalai Lama'

“This is precisely what the shaman does in order to bring about change and development: his nature is therapeutic.”

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Joseph Beuys

Quote of Donald Kuspit, The Cult of the Avant-garde Artist, New York: Cambridge University Press, 1993, p. 95
Quotes after 1984, posthumous published

“I believe that planting these oaks is necessary not only in biospheric terms, that is to say, in the context of matter and ecology, but in that it will raise ecological consciousness-raise it increasingly, in the course of the years to come, because we shall never stop planting.”

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Joseph Beuys

Quote of Joseph Beuys (1982), as cited in: Land and environmental art, Jeffrey Kastner, ‎Brian Wallis (1998), p. 164 - about his 7.000 Oaks [see there the image].
1980's

“This is why we believe that a well-ordered idea of ecology and professionalism can stem only from art – art in the sense of the sole, revolutionary force, capable of transforming the earth, humanity, the social order etc.... Art is, then, a genuinely human medium for revolutionary change in the sense of completing the transformation from a sick world to a healthy one. In my opinion only art is capable of doing it.”

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Joseph Beuys

1980's
Zdroj: Times Thermic Machine, 1982

“Fat' traverses the path from a chaotically dispersed, undirected energy form to a form. Then it appears in the famous fat corner.... now [a wedge of fat in the angle between seat and back of the wooden old Chair, Beuys used in the fat-sculpture, like 'Stuhl mit Fett' (Fet Chair), 1964] intersects the human body in the region that houses certain emotional forces”

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Joseph Beuys

Beuys laughed, and so did everyone else of the public
In a public debate at the Kunstring (Artcircle) Folkwang in Essen, 1972; (Stachelhaus 1991, p. 71); as quoted in Joseph Beuys and the Celtic Wor(l)d: A Language of Healing, Victoria Walters, LIT Verlag Münster, 2012, p. 29
1970's

“My intention: healthy chaos, healthy amorphousness in a known medium which consciously warmed a cold, torpid form from the past, a convention of society, and which makes possible future forms.”

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Joseph Beuys

Quote of Donald Kuspit, The Cult of the Avant-garde Artist, New York: Cambridge University Press, 1993, p. 93
Quotes after 1984, posthumous published

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