Nota di Lavoro, Fondazione Eni Enrico Mattei 60.2006
This essay proposes the artist Joseph Beuys and his work as paradigmatic for art that through its own diversity of approach can show possibilities for addressing diverse audiences, diverging receptions and modes of participation. It arises from a symposium on the occasion of the 20th anniversary of the artists death held at the Goethe Institut Dublin, 23 January 2006. The argument focuses on Beuys practice from his Ulysses-Extension to the Migration Workshop at documenta 6, 1977, the FIU, as well as his work (and legacy) in Ireland. Relevant theories include Ecos openness and Adornos negative and positive representation, since Beuys works relationship to the Holocaust and trauma turns out to be central. Beuys is offered as predecessor of current discourse such as Bourriauds Relational Aesthetics and Documenta11. The article concludes with a new theoretization of participation in culture, Irit Rogoffs Looking Away. It is supported by Beuys multi-layered, diversity-sustaining practice.
Cultural Dialogue Joseph Beuys Diversity Reception Participation Migration documenta FIU Ireland Openness Holocaust Trauma Relational Aesthetics