Joseph Heinrich Beuys, né à Krefeld, sur la rive gauche du Rhin inférieur, le 12 mai 1921 et mort le 23 janvier 1986 à Düsseldorf, est un artiste allemand qui a produit nombre de dessins, de sculptures, de performances, fluxus, happening de vidéos, d’installations et de théories, dans un ensemble artistique très engagé politiquement. Beuys participated for the first time in Documenta in Kassel in 1964. In 1980, and building on the scepticism voiced by Belgian artist Marcel Broodthaers, who in 1972 Open Letter had compared Beuys to Wagner,[54] art historian Benjamin Buchloh (who was teaching at Staatliche Kunstakademie, just like Beuys) launched a polemically forceful attack on Beuys. Also in 1958, Beuys began a cycle of drawings related to Joyce's Ulysses. Joseph Beuys. "The problem lies in the word 'understanding' and its many levels which cannot be restricted to rational analysis. Most significantly, Beuys's proposal for an Auschwitz-Birkenau memorial, submitted in 1958. In 1976, Beuys performed In Defence of the Innocent at the Demarco Gallery where he stood for the imprisoned gangster and sculptor Jimmy Boyle in a manner associating Boyle with The Coyote. Thinking is Form: The Drawings of Joseph Beuys (exh. "[34] Beuys stated that his presence in the room "was like that of a carrier wave, attempting to switch off my own species' range of semantics. Also, at times, on one hand, I was a kind of modern scientific analyst, on the other hand, in the actions, I had a synthetic existence as shaman. [78] His Schlitten (Sled, 1969) sold for $314,500 at Phillips de Pury & Company, New York, in April 2012. Zudem verband ihn mit diesen Künstlern der Wunsch nach einer Kunst, die nicht elitär, sondern gesellschaftlich relevant ist. After he recovered, Beuys observed at the time that "his personal crisis" caused him to question everything in life and he called the incident "a shamanistic initiation." Completed in ca. In Edinburgh, at the end of the 1970s the FIU became one of four organisations that together founded the German Green Party. "Gold and honey indicate a transformation of the head, and therefore, naturally and logically, the brain and our understanding of thought, consciousness and all the other levels necessary to explain pictures to a hare: the warm stool insulated with felt…and the iron sole with the magnet. Beuys's insistence on the fundamentally democratic nature of human creativity suggested that aus der Sammlung der Pinakothek der Moderne, München. Throughout the 1950s, Beuys struggled with a dire financial situation and with the trauma of his wartime experiences. Tisdall, Caroline: Joseph Beuys, New York: Guggenheim Museum, 1979. Er blieb aber in engem Kontakt zu Nam June Paik und arbeitete häufig mit Henning Christiansen zusammen, der Klänge und Musikstücke zu mehreren seiner Aktionen beisteuerte. Beuys attempted to apply philosophical concepts to his pedagogical practice. On the day after the German unconditional surrender on 8 May 1945, Beuys was taken prisoner in Cuxhaven and brought to a British internment camp from which he was released 5 August of that year. New York: Thames and Hudson, 1993. ↩, Zu Beuys’ Verbindung zu Fluxus siehe beispielsweise Thomas Kellein, „Zum Fluxus-Begriff von Joseph Beuys“, in: Dieter Koepplin u. a. Art, politique et mystique, Paris, L'Harmattan, 2014. Some of Beuys' ideas espoused in class discussion and in his art-making included free art education for all, the discovery of creativity in everyday life, and the belief that "everyone [was] an artist. Joseph Beuys (1921 – 1986) fue un artista alemán que trabajó con varios medios y técnicas como escultura, performance, happening, vídeo e instalación y perteneció al grupo Fluxus. Pontus Hultén invited him to exhibit at Moderna Museet in 1971. Em 1962, Beuys conheceu o movimento Fluxus, e as performances e trabalhos multidisciplinares do grupo - que reuniam artes visuais, música e literatura - inspiraram-no a seguir uma direção nova também voltada para a happening e performance. He met there Tadeusz Kantor directing Lovelies and Dowdies and was at Marina Abramovitz's first ever performance. Er entwickelte das Konzept der „Sozialen Plastik“, einer gesellschaftsverändernden Kunst, und ist bekannt für seinen „erweiterten Kunstbegriff“, mit dem er die Trennung von Kunst und Gesellschaft aufheben und Kunst demokratisieren wollte. Einen nützlichen Überblick über die Geschichte und Ziele der Fluxus-Bewegung findet sich bei Elizabeth Armstrong u .a. He then as in Edinburgh pushed a blackboard across the floor alternately writing or drawing on it for his audience. Buchloh attacks Beuys for his failure to acknowledge and engage with Nazism, the Holocaust, and their implications. Beuys's wanted to effect environmental and social change through this project. Er schloss sich der Fluxus-Bewegung an, nutzte ab 1963 Fett als Material und trat erstmals auf Fluxus-Konzerten auf. Around him was an installation of copper rod, felt, fat, hair, and fingernails. From 1943 on he was deployed as rear-gunner in the Ju 87 "Stuka" dive-bomber, initially stationed in Königgrätz, later in the eastern Adriatic region. [1][2], Joseph Beuys was born in Krefeld, the son of the merchant Josef Jakob Beuys (1888–1958) and Johanna Maria Margarete Beuys (born Hülsermann, 1889–1974). He collected gelatin representing crystalline stored energy of ideas that had been spread over the wall. They could see what was happening but remained barred from direct physical access to the event. From above one could see that the pile of stones was a large arrow pointing to a single oak tree that he had planted. While it is easy to resist and ridicule Beuys' efforts in the pop arena, it does not change the fact that this is an important part of his collected works that needs to be acknowledged to better understand his scope, intention and own views of art. His extensive work is grounded in concepts of humanism, social philosophy and anthroposophy; it culminates in his "extended definition of art" and the idea of … One of Beuys' more famous and ambitious pieces of social sculpture was the 7000 Oaks project. Despite this dismissal, the walkway on the academy's side of the Rhine bears Beuys as its namesake. philosophy and he human condition and in his art practice as 'Social Sculpture'. Ray, Gene (ed. That year he found 142 applicants who had not been accepted that he wished to enroll under his teaching. Leben und Werk, Köln 1994, S. 77–95. He followed this with a quiet pause. On 16 March 1944, Beuys's plane crashed on the Crimean Front close to Znamianka, then Freiberg Krasnohvardiiske Raion[8] From this incident, Beuys fashioned the myth that he was rescued from the crash by nomadic Tatar tribesmen, who had wrapped his broken body in animal fat and felt and nursed him back to health: Records state that Beuys was conscious, recovered by a German search commando, and there were no Tatars in the village at that time. I try to bring to light the complexity of creative areas. Joseph Beuys, ( 12. Claudia Schmuckli: 'Chronology and Selected Exhibition History,' in. [33] Beuys positioned himself on the gallery floor wrapped entirely in a large felt blanket, and remained there for nine hours. Juli 1889 in Spellen; † 30.August 1974 ebenda) geboren. [3] Reaffirming his interest in science, Beuys re-established contact with Heinz Sielmann and assisted with a number of nature- and wildlife documentaries in the region between 1947 and 1949. Später wurden dann vor allem die Multiples bekannt, mit deren Hilfe die Fluxus-Künstler den Kunstmarkt öffnen und demokratisieren wollten. Such materials and actions had specific symbolic value for Beuys. In 1974, in Edinburgh, Beuys worked with Buckminster Fuller in Demarco's 'Black & White Oil Conference', where Beuys talked of 'The Energy Plan of the Western Man' using blackboards in open discussion with audiences at Demarco's Forrest Hill Schoolhouse. (Hrsg. [49] This project exemplified the idea that a social sculpture was defined as interdisciplinary and participatory. Joseph Beuys lernte 1962 die Protagonisten der Avantgarde in der Düsseldorfer Kunstszene kennen: Nam June Paik, George Brecht und George Maciunas, deren musikalische Praxis ihm auffiel. Joseph Beuys ( BOYSS, German: [ˈjoːzɛf ˈbɔʏs]; 12 May 1921 – 23 January 1986) was a German Fluxus, happening, and performance artist as well as a painter, sculptor, medallist, installation artist, graphic artist, art theorist, and pedagogue. Feuerstätte I und Feuerstätte II (Hearth I and Hearth II) and other works are at the Museum for Contemporary Art Basel, and a dedicated museum was created for 'The Museum des Geldes' collection mainly of FIU blackboards from Documenta 6. that the peace-loving masses are behind him, and that includes the Americans as well.[52]. The drive here has been to wrest the potential of Beuys's work away from the artist's own rhetoric, and to further explore both the wider discursive formations within which Beuys operated (this time, productively), and the specific material properties of the works themselves.[60]. Adams, David: "Joseph Beuys: Pioneer of a Radical Ecology," Art Journal, vol. Beuys’ Zusammenarbeit mit Fluxus-Künstlern – beispielsweise mit George Maciunas, Nam June Paik und Henning Christiansen – begann in den frühen 1960er Jahren zu einem Zeitpunkt, als Fluxus durch Happenings im Rheinland die deutsche Kunstwelt gehörig durcheinanderwirbelte.2 Über den Kontakt zu Fluxus entwickelte Beuys seine ersten Aktionen. "[24] Beuys believed that humanity, with its turn on rationality, was trying to eliminate "emotions" and thus eliminate a major source of energy and creativity in every individual. In his first lecture tour in America he was telling the audience that humanity was in an evolving state and that as "spiritual" beings we ought to draw on both our emotions and our thinking as they represent the total energy and creativity for every individual. 1993 Joseph Beuys retrospective, Kunsthaus Zurich, Switzerland, 1993 The Revolution is Us, Tate Liverpool, UK, 1994 Joseph Beuys retrospective, Museo Nacional Centro de Arte Reina Sofia, Madrid. Emerging from either end of the blanket were two dead hares. [16] He read Joyce, impressed by the "Irish-mythological elements" in his works,[3] the German romantics Novalis and Friedrich Schiller, and studied Galilei and Leonardo–whom he admired as examples of artists and scientists who are conscious of their position in society and who work accordingly. Whether West, whether East, let missiles rust! 26–34; also published in The Social Artist vol. [3], In 1936 Beuys was a member of the Hitler Youth; the organization comprised a large majority of German children and adolescents at that time and later that year membership became compulsory. In 1947 he, with other artists including Hann Trier, was a founder member of the group 'Donnerstag-Gesellschaft' (Thursday Group). In his arms he cradled a dead hare, into whose ear he mumbled muffled noises as well as explanations of the drawings that lined the walls. [80] This surpassed the previous auction record for a Filzanzug, 62,000 euros ($91,381.80 USD) at Kunsthaus Lempertz (Cologne, Germany) in November 2007. His first Beuys exhibition took place at the Seibu Museum of Art in Tokyo that same year. In 1980 Edinburgh Festival Beuys was at the FIU exhibition and performed Jimmy Boyle Days (the name of the blackboards he used in public discussions), and where he went on temporary hunger strike as a public protest and led with others in a legal action against the Scottish Justice system. "[22] Beuys himself encouraged peripheral activity and all manner of expression to emerge during the course of these discussions. Mai 1921 - 23. This strategy aimed at creating in people an agitation for instigating questions rather than for conveying a complete and perfect structure. These trips inspired many works and performances. This must be the root of reactions to this action, and is why my technique has been to try and seek out the energy points in the human power field, rather than demanding specific knowledge or reactions on the part of the public. It was when visiting Loch Awe and Rannoch Moor on his May 1970 visit to Demarco he first conceived the necessity of the 7,000 Oaks work. See more ideas about artistic installation, fluxus, joseph. [39], The piece is subtitled "The greatest composer here is the thalidomide child", and attempts to bring attention to the plight of children affected by the drug. By placing these two objects side by side, the proportionality of the monument's two parts will never be the same.[50]. His song and music video "Sun Instead of Reagan!" The DIA Art Foundation held exhibitions of Beuys's work in 1987, 1992, and 1998, and has planted trees and basalt columns in New York City as part of his 7000 Eichen, echoing his planting of 7,000 oaks each with a basalt stone project begun in 1982 for Documenta 7 in Kassel, Germany. Additionally the counter-institution of the FIU or Free International University, initiated by Beuys, continues as a publishing concern (FIU Verlag) and has active chapters in various German cities including Hamburg, Munich, and Amorbach. U of Minnesota Press, 2011 - Art - 319 pages. He announced that the stones should not be moved unless an oak tree was planted in the new location of the stone. This was a Fax art project, initiated by the conceptual artist Ueli Fuchser, in which a fax was sent with drawings of all three artist within 32 minutes around the world – from Düsseldorf (Germany) via New York (USA) to Tokyo (Japan), received at Vienna's Palais-Liechtenstein Museum of Modern Art. Most of the Marx collection of Beuys works including The secret Block for a Secret Person in Ireland drawings is at The Hamburger Bahnhof Museum, Berlin. In 1969, he was included in Harald Szeemann's groundbreaking exhibition When Attitudes Become Form at the Kunsthalle Bern. The performance in Edinburgh includes his first blackboard that later appears in many performances when in discussions with the public. Allan Kaprow e Marcel Duchamp foram os criadores dos primeiros happenings , o estilo dos artistas e da teoria do Fluxus foi muito comparada a estética do Dadaísmo e do Pop art . (cf. This was the beginning of what was to be a brief formal involvement with Fluxus, a loose international group of artists who championed a radical erosion of the boundaries of art, bringing aspects of creative practice outside of the institution and into the everyday. Despite prior injuries, he was deployed to the Western Front in August 1944, into a poorly equipped and trained paratrooper unit. [21] Beuys' actions were somewhat contradictory: while he was extremely strict about certain aspects of classroom management and instruction, such as punctuality and the need for students to take draughtsmanship classes, he encouraged his students to freely set their own artistic goals without having to prescribe to set curricula. A retrospective of his work was held at the Solomon R. Guggenheim Museum, New York, in 1979. Beuys became entranced by the periphery of Europe as a dynamic counter in culture and economy terms to Europe's centralisation and this included linking Europe's energies North-South to Italy and East West in the Eurasia concept, with special emphasis on Celtic traditions in landscape, poetry, myths that also define Eurasia. Large sets of multiples are in the collections of the Pinakothek der Moderne in Munich, Germany, Harvard University Art Museums in Cambridge, Massachusetts, the Walker Art Center in Minneapolis, and the Kunstmuseum Bonn, Germany. Die Kunst auf dem Weg zum Leben." Biografija. Examples of contemporary artists who have drawn from the legacy of Beuys include AA Bronson, former member of the artists' collaborative General Idea, who, not without irony, adopts the subject position of the shaman to reclaim art's restorative, healing powers; Andy Wear whose installations are deliberately formed according to the Beuysian notion of 'stations' and are (in particular, referencing the Block Beuys in Darmstadt) essentially a constellation of works performed or created externally to the installation; and Peter Gallo, whose drawing cycle "I wish I could draw like Joseph Beuys" features stretches of Beuys's writings combined with images traced from vintage gay pornography onto found pieces of paper. 2005 Tate Modern, London, UK 'Joseph Beuys: Actions, Vitrines, Environments'. This work has been avoided in some discourse on Beuys because he has been put in artistically sacrosanct position and this is not in conformance with Beuys' other work. Temkin, Ann, and Bernice Rose. Cambridge, MA: The MIT Press. His teachers considered him to have a talent for drawing; he also took piano and cello lessons. [29], Beuys died of heart failure on 23 January 1986, in Düsseldorf.[30]. In contrast, there are those who, following Buchloh, are relentlessly critical of Beuys's rhetoric and use weaknesses in his argumentation to dismiss his work as bogus. Ulmer, Gregory, Applied Grammatology: Post(e)-Pedagogy from Jacques Derrida to Joseph Beuys, Johns Hopkins Press, 1985. This extended in 1972 with the performance Vitex Agnus Castus in Naples of combining female and male elements and evoking much else, and that extended further with I Like America and America Likes Me to have a performance dialogue with the original energy of America represented by the endangered yet highly intelligent coyote. Throughout the late 1960s this renegade policy caused great institutional friction, which came to a head in October 1972 when Beuys was dismissed from his post. In choosing to do a piece in the form of popular music, Beuys demonstrated a commitment to his views and the most expansive ways of having them reach people. [18][38] (Thalidomide was a sleep aid introduced in the 1950s in Germany. In 1961, Beuys was appointed professor of 'monumental sculpture' at the Kunstakademie Düsseldorf. The 1970s were marked by numerous major exhibitions throughout Europe and the United States. Stiftung Museum Schloss Moyland, Sammlung van der Grinten, Joseph Beuys Archiv des Landes Nordrhein-Westfalen (Hrsg. In 1973, Beuys wrote: In 1982 he was invited to create a work for documenta 7. "[37], Beuys presented this performance piece in Düsseldorf in 1966. Januar 1986) war ein avantgardistischer deutscher Bildhauer und Performance-Künstler, dessen Werke, die sich durch unorthodoxe Materialien und rituelle Aktivitäten auszeichneten, viel Aufsehen erregten und zahlreiche Künstlergenerationen beeinflussten. Beuys, J. This stone can be transformed only by taking from it, when a piece splinters off, say, never by growing. Er entwickelte das Konzept der „Sozialen Plastik“, einer gesellschaftsverändernden Kunst, und ist bekannt für seinen „erweiterten Kunstbegriff“, mit dem er die Trennung von Kunst und Gesellschaft aufheben und Kunst demokratisieren wollte. This page was last edited on 16 February 2021, at 15:35. Joseph Beuys (efternamnet uttalas båjs), född 12 maj 1921 i Krefeld, död 23 januari 1986 i Düsseldorf, var Tysklands mest inflytelserike efterkrigskonstnär inom konceptkonst, happening, fluxus.Han var aktionskonstnär, skulptör, tecknare, konstteoretiker och professor vid Konstakademin i Düsseldorf [81], The artist produced slightly more than 600 original multiples in his lifetime. Beuys' Action, "How to explain pictures to a dead hare," exemplifies a performance that is especially relevant to the pedagogical field because it deals with "the difficulty of explaining things". Contemporary movements such as performance art may be considered 'laboratories' for a new pedagogy since "research and experiment have replaced form as the guiding force" (Ulmer, 2007, p. 233). He immersed himself in water with reference to Christian traditions and baptism and symbolized revolutionary freedom from false preconceptions. My point with these seven thousand trees was that each would be a monument, consisting of a living part, the live tree, changing all the time, and a crystalline mass, maintaining its shape, size, and weight. He saw Death not only in the inevitability of death for people but also death in the environment and he became, through his art and his political activism, a strong critic of the environmental destruction. [79] At the same auction, a Filzanzug (Felt Suit, 1970) sold for $96,100. At the end of the three days, Beuys hugged the coyote that had grown quite tolerant of him and was taken to the airport. [3] He received the German Wound Badge in gold for being wounded in action more than five times. In den späteren 1960er Jahren entfernte sich Beuys zunehmend von den Fluxus-Künstlern und ging eigene Wege. Although Beuys participated in a number of Fluxus events, it soon became clear that he viewed the implications of art's economic and institutional framework differently. Beuys’ Zusammenarbeit mit Fluxus-Künstlern – beispielsweise mit George Maciunas, Nam June Paik und Henning Christiansen – begann in den frühen 1960er Jahren zu einem Zeitpunkt, als Fluxus durch Happenings im Rheinland die deutsche Kunstwelt gehörig durcheinanderwirbelte. Beuys's diverse body of work ranges from traditional media of drawing, painting, and sculpture, to process-oriented, or time-based "action" art, the performance of … Text by Dieter Koepplin. According to his own account, when the Nazi Party staged their book-burning in Kleve on 19 May 1933 in the courtyard of his school, he salvaged the book Systema Naturae by Carl Linnaeus "...from that large, flaming pile". Sa naissance commence déjà par une fiction. Fluxus (fluxus - latinsky proud, tok, rozplynulý, rozteklý) je mezinárodní hnutí výtvarníků, skladatelů a designerů založené roku 1960 Litevcem Georgem Maciunasem /Jurgis Mačiūnas- výslovnost ma-čev-nas/ v New Yorku.Jedni z nejvýznamnějších členů jsou Yoko Ono, Joseph Beuys, Charlotte Moorman, Emmett Williams, Wolf Vostell a Nam June Paik His continued commitment to the demystification and dis-institutionalization of the 'art world' was never more clear than it is here. This translated into Beuys's formulation of the concept of social sculpture, in which society as a whole was to be regarded as one great work of art (the Wagnerian Gesamtkunstwerk) to which each person can contribute creatively (perhaps Beuys's most famous phrase, borrowed from Novalis, is "Everyone is an artist"). Jeder mensch ein kunstler. His career was characterized by open public debates on a very wide range of subjects including political, environmental, social and long term cultural trends. Whereas Beuys had been a central figure in the post-war European artistic consciousness for some time, American audiences had previously only had partial and fleeting access to his work. Heyne TB. [13] The Group organised discussions, exhibitions, events and concerts between 1947 and 1950 in Alfter Castle. Using tactics reminiscent of Dada decades earlier, and inspired by the progressive, interdisciplinary ideas of the Fluxus group in the early 1960s, Beuys felt art should be a way of life, not a profession. Then, as I said, even a dead animal preserves more powers of intuition than some human beings with their stubborn rationality. [3] [39][41], Caroline Tisdall noted how, in this work, "sound and silence, exterior and interior, are... brought together in objects and actions as representatives of the physical and spiritual worlds. [19] The artist spent three hours explaining his art to a dead hare with his head covered with honey and gold leaf and Ulmer (2007) argues not only the honey on the head but the hare itself is a model of thinking, of man embodying his ideas in forms (Ulmer, 2007, p. 236). Beuys, Joseph: What is Money? Beuys experienced a severe depression between 1955 and 1957. 439), Peter Lang Verlag, Frankfurt am Main u.a. In Basel the action including washing the feet of seven spectators. During the early years of Fluxus, the often playful style of the Fluxus artists resulted in them being considered by some to be little more than a group of pranksters. Isabelle Boccon-Gibod. Beuys in Caroline Tisdall: Joseph Beuys (Guggenheim, 1979), pp. 1 Spring 2014: 3–13. He joined the Kleve Artists Association that had been established by Brüx and Lamers. (Hrsg. Sharp, W. (1969). Beuys warns Reagan et al. During this time he had a lance in his hand and was standing by the blackboard where he had drawn a grail. 1986 Memorial Exhibitions: Feldman Gallery, New York, Demarco Gallery, Edinburgh, Arts Council Gallery, Belfast. Such an object is intended as a stimulus for discussion, and in no way is it to be taken as an aesthetic product. [10] Beuys was brought to a military hospital where he stayed for three weeks from 17 March to 7 April. "[35] He also said: "For me The Chief was above all an important sound piece. Some of Beuys's art dealt explicitly with the issues at play in the political groups with which he was affiliated. Zahlreiche Fluxus- und Happening-Veranstaltungen sowie Vorträge brachten eine ungeheure Publizität mit sich, Joseph Beuys wurde zur Leitfigur der 68-er Bewegung, die gegen etablierte verkrustete Gesellschaftsideologien ankämpfte. His nontraditional and anti-establishment pedagogical practice and philosophy made him the focus of much controversy and in order to battle the policy of "restricted entry" under which only a few select students were allowed to attend art classes, he deliberately allowed students to over-enroll in his courses (Anastasia Shartin),[23] true to his belief those who have something to teach and those who have something to learn should come together. Chris Thompson. All the major art museums in Germany have many Beuys works including Fond III at Landesmuseum Darmstadt, ehil Moechengladbach Museum has the Poor House Doors and much else, Beuys gave a large collection to the Solidarinosc Movement in Poland. He is remembered as one of the most influential artists of the 20th century, with an eclectic oeuvre spanning media and time periods. [18], The Chief was first performed in Copenhagen in 1963 and again in Berlin in 1964. Such an action... changes me radically. It was during the 1960s that Beuys formulated his central theoretical concepts concerning the social, cultural and political function and potential of art. Since his death, Beuys' artworks have fluctuated in price, sometimes not even selling. Beuys made it clear that he considered this song as a work of art, not the "pop" product it appears to be, which is apparent from the moment one views it. [18]) During his performance, Beuys held a discussion about the tragedy surrounding Thalidomide children. For example, honey is the product of bees, and for Beuys (following Rudolf Steiner), bees represented an ideal society of warmth and brotherhood. Fluxus was an international, ... the video art of Nam June Paik and Charlotte Moorman and the performance art of Joseph Beuys and Wolf Vostell. The artist was the focus of attention, yet remained invisible, rolled up in a felt blanket throughout the duration of the event... visitors were... forced to stay in the neighboring room. Further examples of such performances include: Eurasienstab (1967), Celtic (Kinloch Rannoch) Scottish Symphony (1970), and I Like America and America Likes Me (1974). Documenta 7, Kassel, Germany, 1985 Palazzo Regale, Museo di Capodimonte, Naples, Italy, 1986 Marisa del Re Gallery, New York City, January–February 1986. Joseph Beuys was a German Fluxus and multimedia artist. Konceptualistas. "[25][26], In Beuys' own words: "So when I appear as a kind of shamanistic figure, or allude to it, I do it to stress my belief in other priorities and the need to come up with a completely different plan for working with substances. Beuys, as he often explained in his interviews, saw and used his performative art as shamanistic and psychoanalytic techniques to both educate and heal the general public. ): Joseph Beuys, Mapping the Legacy (, See, amongst other relevant publications: Ray: 'Joseph Beuys and the After-Auschwitz Sublime,' in Gene Ray (ed.
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