JOSEPH BEUYS Sliding the Sun Light

A FIELD OF SOCIAL SCULPTURE

Exhibited in Los Angeles, March/April 2017, at CMAY Gallery

“I was wondering where the animal starts vanishing and the living being becomes a human. All the different possibilities offered by everyday life, one has to arouse them from inside.”
— Joseph Beuys

 Words are by JOSEPH BEUYS himself from Was its Kunst? What is Art? 1986. They have been translated by the editor, RA, from the book’s French version which is in turn a translation from German: we can only hope that Beuys’s spirit and heat survived  the linguistic journey.

JOSEPH BEUYS, “Enterprise 18.11.72, 18:16 Uhr”  1973  zinc coffer, photograph, camera, felt
 16 x 12 x 6 in   Courtesy of CMAY Gallery, Los Angeles

What necessity can we establish from which something like art was born.

Ideologies are not ideas, they imply a violence imposed on ideas in order to embellish our instincts with a conceptual apparatus.

Art mustn’t remain something retinal… that’s why I was interested in substances… Gradually, substances get out of themselves aiming toward a supra-sensitive substance that doesn’t belong in the physical realm.

Thinking is already by itself a sculpture process about which we can prove it’s a true creative act, I mean a process that humans formed by themselves, free from any imposed authority… It’s important to listen to the images, to perceive sculptures through the ears, setting in motion a much more interior and deeper machinery, able to produce the substance of heat, the evolutionary heat that helps humans to progress, enabling them to be carriers of evolution.

JOSEPH BEUYS,  “Suite Schwurhand – Eiszeittiere” 1980  lithograph on white Arches paper
15 ¾ x 11 ¾ in   Courtesy of  CMAY Gallery, Los Angeles

JOSEPH BEUYS, “The Eurasian (Sulphur Work)” 1971 silkscreen, sulphur and pencil on paper       23 5/8 x 18 ½ in   Courtesy of CMAY Gallery, Los Angeles

I got interested in an intense way in the materials around me, of course in any state: dead or alive. The site where a plant reposes, her vertical function, her way to emerge, to orient herself; or otherwise we must give a sense to life, simply understanding that the life we live is important and not ignoring that it could be sad, it could bring a burden without being a big thing; the states of depression can be suppressed by getting rid of ourselves, making of ourselves something new. By the same means we must do something new with the other peoples… This will become heat through a communication process with other humans, listening to what they produce… The field of a social sculpture works like a new machinery, we could say, like a carrier of energy.

JOSEPH BEUYS, “Fingernail Impression in Hardened Butter” 1971 butter, wax in plastic box on gray cardboard 9 x 8 x ¼ in Courtesy of CMAY Gallery, Los Angeles

JOSEPH BEUYS, “Element” 1982 copper sheet and iron sheet 12 3/8 x 17 3/8 x 3/8 in Courtesy of CMAY Gallery, Los Angeles

A thing must talk. Sometimes it’s very hard to find the reason why a thing to whom one has dedicated work for so long doesn’t talk.

One day for instance I made a big marble relief and wasn’t really unsatisfied. I thought: it will be superb. When it was finished my thought has been: well, that’s it, finished, but it was enough to put it against the wall to realize that it did not talk, it did not make sense at all. I remade it completely. Yes, and sometimes things happen: for instance that crate isn’t bad, it’s even talking for me. The soil instead doesn’t talk at all… By all means, that crate has her own expression.

JOSEPH BEUYS, “Suite Zirkulationszeit – die Mütter” 1982 etching on laid paper 14 7/8 x 11 ¼ in  Courtesy of CMAY Gallery, Los Angeles

We do not know what sculpture is. The concept was used in order to say, this is sculpture, this is painting, this is architecture, this is dance, this is poetry, etc. I was always annoyed by people using a concept without knowing what it is. I understand very well Ad Reinhard’s reaction when he was asked his opinion about modern sculpture. Sculpture? -he answered- It is that thing one stumbles on while stepping back from a painting to see it better. … I told myself: although it’s a concept without foundation, it must have something in it expressing much more precisely what it’s made of. And I discovered something very simple: it is composed with forces, and components are very important… Our civilization, for instance, is conformed by the rectangle…
And men are organisms enlivened by heat, by the heat’s spiritual principles, we could call it love, love in the highest sense. It is surely a principle of heat.

JOSEPH BEUYS, “Suite Schwurhand – Vogel”  1980  etching and lithograph on paper, rolled on Arches paper 12 5/8 x 9 5/8 in Courtesy of CMAY Gallery, Los Angeles

JOSEPH BEUYS, “Suite Zirkulationszeit – Meerengel zwei Robben” 1982 etching and acquatint on grey laid paper 14 7/8 x 11 1/8 in  Courtesy of CMAY Gallery, Los Angeles

7,000 Oak Trees

OCTOBER 2014 – by LUCAS REINER

(An American painter in Germany)

LUCS REINER, Fünffensterstrasse   2014, Woad on paper, 10 3/4" x 7 1/2" Courtesy of the artist

LUCAS REINER, Fünffensterstrasse 2014, Woad on paper, 10 3/4″ x 7 1/2″
Courtesy of the artist

Kassel Oct. 5, 2014

7,000 Eichen, Beuys

planted oak trees – 1982

Judaic tradition of

planting a tree

to commemorate the

death of a loved one.

Unspoken, undiscussed –

lives of people killed in

Kassel after the bombing

“No one cares about the

Germans who died in the

war”, a friend says in passing.

Picking up a trail

left by Beuys

Taking nature and

making something else

out of it – (a portrait)

– turning it into another

thing – commodity –

Art = Kapital (to improve…)

LUCAS REINER, Fünffensterstrasse  2014  Woad on paper, 10 3/4" x 7 1/2" Courtesy of the artist

LUCAS REINER, Fünffensterstrasse 2014   Woad on paper, 10 3/4″ x 7 1/2″
Courtesy of the artist

Oct. 6, 2014

Kassel Suite For Gita

light transforming darkness

Dancing on the ruins

Gauleiter Weinrich

Beuys’ trees – 7,000

the number itself

transformation (and healing)

dark towards light    after

bombs falling for 2 years straight.

The trees themselves in groups

one overtaken by light

casting shadow on the street

           long shadow

When they rebuilt Kassel

after the war should they

have left some of the ruins –

like Rome – would the feeling

in the city be different

today – one simply can’t ignore

the past, but can re-construct

it –

Basalt markers

             Ghosts

             +

              Shadows

putting the darkness behind

the light – not as a conquest –

but integration.