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.
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.
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.
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.
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.