Eugen Gomringer is a Bolivian-Swiss writer, known primarily as a poet. Concrete poetry or visual poetry are the keywords here. What the Austrian painter Heinz Gappmayr did in the visual arts, namely to bring surfaces and words into a relationship, Gomringer prepared for poetry. Speech in the text is not merely immaterial, so that when we read it we hear sounds in our heads to which we give meaning and meaning, but the word as a material form also rests on a surface.
In 2011, Gomringer was awarded the Alice Salomon Poetics Prize 2011 – not world famous, but price is price – and a wall poetry has since graced the façade of Alice Salomon College. It is a college in the east of Berlin, in Hellersdorf. Her focus is socio-pedagogical: social work, health, education and training. On the facade is:
avenidas y flores
flores y mujeres
avenidas y mujeres
avenidas y flores y mujeres y
One can translate this poem into German, but I consider it pointless, because by transferring the sound is lost, and if one thinks the few terms from Spanish to German, it is just as without translation.
Nevertheless, the Asta of the Alice Solomon College translates because it does not rely on the power of language, but on the power of extermination. The poem should be gone, it is misogynistic.
“A man who looks at the streets and admires flowers and women. Not only does this poem reproduce a classic patriarchal art tradition in which women are only the beautiful muses that inspire male artists to do creative work, it is also reminiscent of the sexual harassment that women experience everyday. “
One might think that these phrases came in their zeal as a kind of joke from Eckhart Henscheid’s “trilogy of running nonsense”. But they are not taken from there. They come from the Asta, written out of anonymity, of course, without concrete persons willing to stand for the destruction of art. Only in a call for the redesign of the facade sign a Lotte, a Marie and a * x Aiko vom Asta.
Today it is dangerous to do art. With that you, good poor artist, hypocrite lecteur, mon semblable, mon frère !, are faster at the stake of the new Inquisition than you can count to three. The author of “A une Passante” would presumably, if it were up to these people, in a prison. If only because he only kept the word to fraternity.
Such censoring and eradication of art and context has method. Already in Orwells “1984” we read of that Ministry of Truth, which describes the history and tradition of works of art, just as the censor in dictatorships at high behest eradicates unwanted persons from photographs.
The “Time” last week titled an essay on the making art as follows: “***** it starts with”. Sensibelchen, who get an excited whooping cough with language difficulty in the Negro. In terms of language philosophy, however, in the sense of Donald Davidson, it is interesting from which number of stars the reader no longer understands a concept in its meaning. Hanno Rauterberg recorded in the “Zeit” this observation of the history triggers in relation to the Kunsthalle Bremen: she “explores her colonial history in a courageous exhibition. The result is devastating. “
What I thought was a bad joke ten years ago, which I joked about and thought it would be politically correct in all delusion, if not, it would be a joke to rewrite the little white tablets on which the work title stands – here in Bremen the inaccessible event and also done:
“To make matters worse, Nolde spoke of” natives “and thus dubbed the watercolors. This term was “applied in the context of enslavement and colonialism but only on subject societies outside Europe,” says the exhibition, which is why in the museum only of E *********** may be mentioned.
The situation is similar with the coffee garden on the Weser by Elisabeth Perlia, because here a “stimulant from distant countries, mostly produced by underpaid labor” is obviously enjoyed “unconcerned by global trade history”. The painter shows “drinking coffee as part of the white identity”.
These texts were created in cooperation with the local university in Bremen, they are the responsibility of the anthropologist Julia Binter, who was specially brought to Bremen as a curator. In the midst of the debate surrounding the Humboldt Forum in Berlin, she pleads for a radical decolonization of museums in her exhibition: recognize your guilt and draw the lessons from it, call it to the visitors. Finally, let’s end with racism, exoticism and exclusion.
Therefore, the Negro girl, a watercolor by Anita Rée, now only N **** girls called. “
Julia Binter should have been left where she came from – in the academic jungle of German middle-class women. I therefore cited the passages so extensively in order to make the spirit of this policy of mind more comprehensible: how a meaningful intuition turned into the absurd. Almost one could get the impression that in Bremen and in the case of the Asta-Hellersdorf certain circles wanted to ride a really good thing ridiculous. Yes, it is best that peoples and cultures, husband, wife, gender and genders do not exist in art and life. So it would have the evangelicals of the new Butler mainstream best, best of all no tangible things that could be misinterpreted and that a too delicate temper like Lotte, Marie and Aiko vom Asta, if not triggern might. Recently I read in a blog that publishers but please attach a content warning on appropriate books. And that was not meant as a joke and this has meanwhile system:
“The publisher could list Content Warnings in the first few pages, or before the story begins, it can point to one of the last pages of Content Warning. You should also be able to find these content warnings through various online bookstores.
Lotte, Marie and Aiko vom Asta wrote for the new Beijing house wall in Hellersdorf: “So be creative, brainstorm together and let’s make a great transformation! love, … “, they affectionately wrote their call for art destruction.
The creativity of these people presumably looks like the burka. Same sex, no apparent difference, nothing that stands out, even Mao’s ant-coat, which was forced to carry a whole people, on the other hand, seem like a piece of hard-won sovereignty. Burkas on statues, about works of art, about every emotion and statement. And since gender is, according to Judith Butler, a social construction, we can abolish it right away, because it perpetuates the discourse of violence. Without further ado, this self as leftist collective abandons all materialism.
This new animosity, including iconoclasm, in evangelical tradition, is appalling, we had it with the iconoclasts of the Reformation, today it is critical whiteness and a certain faction from the House of Gendergaga. Especially amusic. Not in the least comprehending the content of this poem.
Anyone who still wants to remove wall poetry after this recitation, and especially after this interpretation of the poem, has understood nothing of art and lays the (seemingly) good attitude above every stimulus. Worse, however, than those people from the Asta is the university administration, which has conceded the pressure. What cowards! Even though university rector Uwe Bettig criticizes the removal: There are certainly internal ways to prevent it. Starting with a small safety inspection of the coffee machines in the student café of the Asta. Quite apart from the question of the legal legitimacy of the Asta.
No, that’s not how it works. The poem remains, and we should consider whether, when the poem is removed, we openly call for protest and prevent the elimination by means of space occupation and aesthetic intervention. As soon as it is painted over: intervene. In the tradition of Beuys or Schlingensief. It will be time to stand up to these forces, and as is always required from the left: here civil courage is required, for this lap is fruitful! But you probably will not be allowed to say lap at Butler’s Gendergaga because the term comes from the heteronormative matrix. Wicked cunt, poor Brecht!