Meine Kunst kriegt hier ... (1)
Julian Rosefeldt / Piero Steinle, Meine Kunst kriegt hier zu fressen – Hommage à Max Beckmann (1), 2002
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Julian Rosefeldt / Piero Steinle
Meine Kunst kriegt hier zu fressen – Hommage à Max Beckmann (1)
2002
Part 1 of 4-channel video installation
DVD
Aspect ratio 4:3
Loop, 6 min 45 sec
Edition 6 + 2 ap
Julian Rosefeldt and his former artist-partner Piero Steinle created Meine Kunst kriegt hier zu fressen – Hommage à Max Beckmann (2002) on occasion of the exhibition Max Beckmann, un peintre dans l’histoire at the Centre Georges Pompidou in Paris. Honouring the German artist who, especially in France, has long been undervalued, Steinle’s and Rosefeldt’s video installation provided an emotional access to the biographical background of Beckmann. The exhibition was interrupted four times by a small dark space, showing a collage of historical found footage in order to introduce the respective chapter within the retrospective. Although the videos are based on archival film footage, the sequences offer an associative rather than documentary approach and constitute a melange of stations in Max Beckmann’s life: soldiers seeking protection in the trenches; bombs being dropped over cities and forests; pictures of half-naked dancers in the swinging 1920s, and cheering crowds in front of the Statue of Liberty in New York. The four videos tell of the painter’s experiences serving as an ambulance man during World War I, his fascination for the metropolitan nightlife after the war’s end, his anxious state of mind during the National Socialist movement, and finally his emigration to the USA in 1947.
Summarised from Johannes Wetzel, Wider das Klischee vom Berserker, in: Berliner Zeitung (October 2002)
Commissioned by:
Centre national d’art et de culture Georges Pompidou, Paris
All rights reserved © Julian Rosefeldt / Piero Steinle
Exhibitions / Catalogues
– Max Beckmann – un peintre dans l’histoire, Centre national d’art et de culture Georges Pompidou, Paris,
September 2002–January 2003 (curated by Didier Ottinger; catalogue)
Film & Video Works / Meine Kunst kriegt hier zu fressen – Hommage à Max Beckmann, 2002 / Meine Kunst kriegt hier ... (1)
Julian Rosefeldt / Piero Steinle
Meine Kunst kriegt hier zu fressen – Hommage à Max Beckmann (1)
2002
Part 1 of 4-channel video installation
DVD
Aspect ratio 4:3
Loop, 6 min 45 sec
Edition 6 + 2 ap
Julian Rosefeldt and his former artist-partner Piero Steinle created Meine Kunst kriegt hier zu fressen – Hommage à Max Beckmann (2002) on occasion of the exhibition Max Beckmann, un peintre dans l’histoire at the Centre Georges Pompidou in Paris. Honouring the German artist who, especially in France, has long been undervalued, Steinle’s and Rosefeldt’s video installation provided an emotional access to the biographical background of Beckmann. The exhibition was interrupted four times by a small dark space, showing a collage of historical found footage in order to introduce the respective chapter within the retrospective. Although the videos are based on archival film footage, the sequences offer an associative rather than documentary approach and constitute a melange of stations in Max Beckmann’s life: soldiers seeking protection in the trenches; bombs being dropped over cities and forests; pictures of half-naked dancers in the swinging 1920s, and cheering crowds in front of the Statue of Liberty in New York. The four videos tell of the painter’s experiences serving as an ambulance man during World War I, his fascination for the metropolitan nightlife after the war’s end, his anxious state of mind during the National Socialist movement, and finally his emigration to the USA in 1947.
Summarised from Johannes Wetzel, Wider das Klischee vom Berserker, in: Berliner Zeitung (October 2002)
Commissioned by:
Centre national d’art et de culture Georges Pompidou, Paris
All rights reserved © Julian Rosefeldt / Piero Steinle
Exhibitions / Catalogues
– Max Beckmann – un peintre dans l’histoire, Centre national d’art et de culture Georges Pompidou, Paris,
September 2002–January 2003 (curated by Didier Ottinger; catalogue)