For The Love Of God: The Caspar-David-Friedrich-Can!
21 Oct 2012
Our world is not absolutely in its design, but only one of many possible worlds. For the opportunity to comply with its irregularity, it is obliged to use the accident to develop. Only this way the image of the world becomes harmonious. Here the heterogeneity of components in an optimal variety may favorite independent compositions: The Art of Living ... Life as a Piece of Art - each one with his responsibility as an artist in his work. Only perfection in its permissive will to the irregular can create the best. "The only true source of art is in our hearts, there we'll find the language of a pure childlike mind and creative entirety, other expressions can only be artificial." - That's how Caspar David Friedrich is quoted in a catalog. He continuous: "Close your bodily eye, that with the spirit's eye you can see your images" - "Every genuine work of art is received in holy hour and can be fortunately born by the artist from an inner impulse of the heart ... often unconsciously."
Recently, one beautiful morning in the past month of August, when I walked for the hundredth time with our dog "OTTO" at the same place in the forest, I saw a can in the dry grass beside the road. As I photographed this morning hand shadows on tree stumps, I had a camera with me and took a photo of the can on a burnt stump. Shortly the caught image flashed on the screen and I thought I am still dreaming: The rust on the can's lid showed up like a drawn shape of the "Wanderer über dem Nebelmeer" (Wanderer Above the Sea of Fog). I recalled the picture to the screen and grinned, shaking my head, because "all great art" always will appear only by surprise ... and here I experienced one of these miracles. The can transformed right in that moment into the "Caspar-David-Friedrich-Can", and into one of the most important works of contemporary art of our days - more than that, it showed up as an antipode to "Diamond Skull" by Damian Hirst and weighed immediately not only their spiritual value on the opposite side of the scale, but also the material value of the object: "For The Love Of God ...!"
OTTO, the dog, took little part in that. Neither he had seen the original painting in the Hamburger Kunsthalle, nor even a postcard with the subject. More: Because the can was empty, he paid no attention to it. Maybe some delicious tuna inside the can would have been interesting for him. But why this empty and rusty tin excited my mind in such a turbulent manner? - Was it my imagination that transported me far away from my current real position? - Away from the dirt road and out of the forest? - Into other spheres? - Of a virtual texture? - Was it my lack of appetite, that made slip the real meaning of the can into a contextually black hole? - Also Caspar David Friedrich was a lover of nature: "The evenings I go over field and meadow, the blue sky above me, and next to me the green seeds, green trees, and I'm not alone ..." - had he also found a can?
If we reduce the world's population on the dimension of a single village, where only 100 people live, however retained the global proportions, the reduction will present the following community: 57 Asians / 21 Europeans / 14 Americans (North, Central and South) and 8 Africans (!). - Only 6 people would possess 59% of the whole prosperity and these 6 proceed entirely from the U.S.A.; 80 are living in poverty; 70 would be illiterate; 50 would suffer from hunger and malnutrition ... one would die while one will be born ... 1 would have a computer (!) ... and 1 (Yes, really only one) would have a college degree. AND: If your refrigerator is stocked, you wear clothes, you have a roof over your head and a place to sleep, you are wealthier than 75% of the world population. Humanity seems to happen above a sea of fog. The nebula is located in the bodily eyes of men and transforms our living vision into a dead look. Controlled by thoughts, our illusions derive by Cartesian-Stress-Generators into absurd decisions. In the days of Andy Warhol the individual was still a preserve, but today the contents are already eaten and the contemporary hiker himself has become a rusty tin on the roadside.
A horror-scenery has overtaken our world and lurks in a very sublime way in an entire "culture" created by ourselves: With a former weight of 180 million kilos of steel construction for the World Trade Center, we calculate with a total of 3,271 victims in the collapsing buildings, exactly 0.000018172 deaths per kilo (reducing us only on the steel - not counting the weight of other built-up materials - such as glass and concrete). In the case of the work of art "Diamond Skull" we calculate a total of 1,158.68 carats to 2,222 kilos of developed diamonds. This means that with an average mortality rate of the personnel in the mines and (only !) one deaths per carat, our calculation results in exactly 500 bodies per kilo (!). - "Beyond Belief" - announced the title of an exhibition by Damien Hirst, opened in June 2007 in two rooms of the White Cube Gallery in London. The most significant exhibit of that show, by "The King of the Hype" who conquered the art market, and who was considered in the 90th one of the most provocative and successful Young British Artists, was his artwork: "For The Love Of God" ... The Golden Calf reinvented as a Diamond Scull.
Even if the assignments from symbol to meaning, and conversely, demonstrate seldom uniqueness, and the symbolic expressions usually offer more complex variety than we normally receive by the visible form, the content remains an original relation between symbol (aesthetics), statement (logic) and significance (ethics). These relations appear similar to a state vector in quantum physics. That means: Everything that can happen to the state vector really happens. A decision in the consciousness of the observer causes the collapse of the vector's state. While the audience of a comedy is desperately longing for the first gag, and thus the first laugh, the spectators of suspense are waiting for the first scare. A surprising appearance of Freddy Krueger, the return of the mummy, or the good old Dracula, generates a direct stimulation of virtual anxiety, but it also happens chemically and biologically in our body. Our world is not absolutely in its design, but only one of many possible worlds. It is obligated to use the accident to develop conform to its irregularity. So the image of the world becomes more harmonious. I vote for the can! - http://foto-moto.interlacearts.com
Quotes by Caspar David Friedrich: „Bekenntnisse im Wort" - Berlin 1939 / „Geschwisterbriefe" - Greifswald 1924