What is high art versus low art

Counter-art, anti-art, non-art, artlessness

Title: Kunstverweigerungskunst II by Herbert Kopp-Oberstebrink pp. 30 - 45

Dispositive of denial
By Herbert Kopp-Oberstebrink and Judith Elisabeth Weiss

Artistic design or direct political action

“I affirm art, I am for art, and I believe in art! Instead of criticizing the system, it is about making art that is critical because it is entirely within itself and because it occurs against itself. It's about making art critically by giving form at its expense - at the expense of art itself. "1

With this plea for the effectiveness of art and its critical potentials, Thomas Hirschhorn formulates his ideas of resistance and thus describes a practice that is far removed from the temptations to break off the dialogue between artist and world, which Susan Sontag had as a characteristic almost half a century earlier diagnosed modern art. The artist's silence appeared to her as his liberation from the unreasonable demands of a world that seeks to approach the work of art with words, criticism and economization, as liberation that helps the artist to achieve that transcendence into the work, "for which he asks him."2 Even further, Hirschhorn admittedly found a far more radical form of silence on the part of the artist that Sontag did not have in mind: his complete silence in the boycott, the partial or complete withdrawal of his works from the art world. Hirschhorn's concern to want to give back the dimension of an emancipatory power to art found its expression not least in the catastrophe scenario Discount (2014) at Manifesta 10 in Saint Petersburg. Behind a violently torn house facade opened up six rooms, their interiors with furniture and with originals by Kazimir Malevich, ...

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The casualness of things

"Eberhard Havekost, Ulrich Pester, Stefan Pfeiffer, Wilhelm Sasnal, Peter Schmersal, Norbert Schwontkowski, Luc Tuymans, Cornelius Völker, Zhang Enli"
Overbeck Society, Lübeck Art Association, 8.2. - 26.3.2015

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