{"id":31728,"title":"Kunst muss sein (LIDL)","dimensions":"","date_begin":"1969-01-01","material":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Studio Chris Reinecke","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":16,"permalink":"kunst-muss-sein-lidl","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/744/medium_500/4_6_Kunst_muss_sein.jpeg?1643805346","cached_actor_names":"Chris Reinecke","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"category":{"en":"Text","nl":"Tekst","fr":"Texte"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/744/large/4_6_Kunst_muss_sein.jpeg?1643805346","poster_credits":null,"translations":[{"locale":"en","short_description":"\u003cp\u003eIn the pamphlet \u0026lsquo;ART MUST BE\u0026rsquo;, Reinecke responds to the established order\u0026#39;s recuperation of the anti-attitude. After the failed uprising of 1968, the \u0026lsquo;movement\u0026rsquo; is reduced to a a scattered group of individuals that use the \u0026lsquo;revolution\u0026rsquo; for personal gain. At this point, Reinecke no longer gained new perspectives from the politicized art scene, which had become entrenched in concepts such as progressiveness and authenticity, but from political work based on a democratic society in which art sheds its elitist pretensions.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe drawings in the margin represent men in an elevator, soaring to success. The man with the hat depicts Joseph Beuys. She told me that the distribution of this pamphlet was not met with enthusiasm. \u0026ldquo;What have you done?!\u0026rdquo; Immendorff had exclaimed, \u0026ldquo;this is your death sentence.\u0026rdquo;\u0026nbsp;\u003c/p\u003e\r\n","description":"\u003cp\u003eIn the pamphlet \u0026lsquo;ART MUST BE\u0026rsquo;, Reinecke responds to the established order\u0026#39;s recuperation of the anti-attitude. After the failed uprising of 1968, the \u0026lsquo;movement\u0026rsquo; is reduced to a a scattered group of individuals that use the \u0026lsquo;revolution\u0026rsquo; for personal gain. At this point, Reinecke no longer gained new perspectives from the politicized art scene, which had become entrenched in concepts such as progressiveness and authenticity, but from political work based on a democratic society in which art sheds its elitist pretensions.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe drawings in the margin represent men in an elevator, soaring to success. The man with the hat depicts Joseph Beuys. She told me that the distribution of this pamphlet was not met with enthusiasm. \u0026ldquo;What have you done?!\u0026rdquo; Immendorff had exclaimed, \u0026ldquo;this is your death sentence.\u0026rdquo;\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"\u003cp\u003eIn het pamflet \u0026lsquo;KUNST MOET ZIJN\u0026rsquo; reageert Reinecke op de recuperatie van de anti-attitude door de gevestigde orde. Na de mislukte opstand van 1968 wordt de \u0026lsquo;beweging\u0026rsquo; gereduceerd tot individuen die de \u0026lsquo;revolutie\u0026rsquo; inzetten op een voor hun opportune manier op weg naar succes. Op dit punt kwamen nieuwe perspectieven voor Reinecke niet langer voort uit de gepolitiseerde kunstsc\u0026egrave;ne, die zich heeft vastgebeten in concepten als progressiviteit en authenticiteit, maar uit het politieke werk aan de basis voor een democratische samenleving waarin de kunst haar elitaire pretenties verliest.\u003c/p\u003e\r\n\r\n\u003cp\u003eDe getekende mannetjes in de kantlijn zitten in de lift naar boven, naar succes. Het mannetje met de hoed beeldt Joseph Beuys uit. Ze vertelde me dat de verspreiding van dit pamflet haar niet in dank werd afgenomen. \u0026ldquo;Wat heb je nu toch gedaan?!\u0026rdquo;, zou Immendorff hebben uitgeroepen, \u0026ldquo;dit is je doodvonnis.\u0026rdquo;\u0026nbsp;\u003c/p\u003e\r\n","description":"\u003cp\u003eIn het pamflet \u0026lsquo;KUNST MOET ZIJN\u0026rsquo; reageert Reinecke op de recuperatie van de anti-attitude door de gevestigde orde. Na de mislukte opstand van 1968 wordt de \u0026lsquo;beweging\u0026rsquo; gereduceerd tot individuen die de \u0026lsquo;revolutie\u0026rsquo; inzetten op een voor hun opportune manier op weg naar succes. Op dit punt kwamen nieuwe perspectieven voor Reinecke niet langer voort uit de gepolitiseerde kunstsc\u0026egrave;ne, die zich heeft vastgebeten in concepten als progressiviteit en authenticiteit, maar uit het politieke werk aan de basis voor een democratische samenleving waarin de kunst haar elitaire pretenties verliest.\u003c/p\u003e\r\n\r\n\u003cp\u003eDe getekende mannetjes in de kantlijn zitten in de lift naar boven, naar succes. Het mannetje met de hoed beeldt Joseph Beuys uit. Ze vertelde me dat de verspreiding van dit pamflet haar niet in dank werd afgenomen. \u0026ldquo;Wat heb je nu toch gedaan?!\u0026rdquo;, zou Immendorff hebben uitgeroepen, \u0026ldquo;dit is je doodvonnis.\u0026rdquo;\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","short_description":"\u003cp\u003eDans le pamphlet \u0026laquo;\u0026nbsp;L\u0026rsquo;ART DOIT \u0026Ecirc;TRE\u0026nbsp;\u0026raquo;, Reinecke r\u0026eacute;agit \u0026agrave; la r\u0026eacute;cup\u0026eacute;ration par l\u0026rsquo;ordre \u0026eacute;tabli de l\u0026rsquo;anti-attitude. Apr\u0026egrave;s l\u0026rsquo;\u0026eacute;chec de la r\u0026eacute;volte de 1968, le \u0026laquo;\u0026nbsp;mouvement\u0026nbsp;\u0026raquo; se r\u0026eacute;duit \u0026agrave; des individus qui engagent la \u0026laquo;\u0026nbsp;r\u0026eacute;volution\u0026nbsp;\u0026raquo; de mani\u0026egrave;re opportune pour leur qu\u0026ecirc;te de r\u0026eacute;ussite personnelle. \u0026Agrave; ce stade, Reinecke estime que de nouvelles perspectives ne proviennent plus de la sc\u0026egrave;ne artistique politis\u0026eacute;e, qui s\u0026rsquo;est cramponn\u0026eacute;e \u0026agrave; des concepts tels que le progressisme et l\u0026rsquo;authenticit\u0026eacute;, mais du travail politique \u0026agrave; la base d\u0026rsquo;une soci\u0026eacute;t\u0026eacute; d\u0026eacute;mocratique dans laquelle l\u0026rsquo;art perd ses pr\u0026eacute;tentions \u0026eacute;litistes.\u003c/p\u003e\r\n\r\n\u003cp\u003eLes petits bonshommes dessin\u0026eacute;s dans la marge sont dans l\u0026rsquo;ascenseur vers le succ\u0026egrave;s. Le petit bonhomme au chapeau repr\u0026eacute;sente Joseph Beuys. Elle m\u0026rsquo;a racont\u0026eacute; qu\u0026rsquo;on ne lui a pas su gr\u0026eacute; pour la diffusion de ce pamphlet. \u0026laquo;\u0026nbsp;Mais qu\u0026rsquo;est-ce qui te prend\u0026nbsp;?\u0026nbsp;\u0026raquo;, se serait exclam\u0026eacute; Immendorff, \u0026laquo;\u0026nbsp;Ceci est ton arr\u0026ecirc;t de mort\u0026nbsp;\u0026raquo;.\u003c/p\u003e\r\n","description":"\u003cp\u003eDans le pamphlet \u0026laquo;\u0026nbsp;L\u0026rsquo;ART DOIT \u0026Ecirc;TRE\u0026nbsp;\u0026raquo;, Reinecke r\u0026eacute;agit \u0026agrave; la r\u0026eacute;cup\u0026eacute;ration par l\u0026rsquo;ordre \u0026eacute;tabli de l\u0026rsquo;anti-attitude. Apr\u0026egrave;s l\u0026rsquo;\u0026eacute;chec de la r\u0026eacute;volte de 1968, le \u0026laquo;\u0026nbsp;mouvement\u0026nbsp;\u0026raquo; se r\u0026eacute;duit \u0026agrave; des individus qui engagent la \u0026laquo;\u0026nbsp;r\u0026eacute;volution\u0026nbsp;\u0026raquo; de mani\u0026egrave;re opportune pour leur qu\u0026ecirc;te de r\u0026eacute;ussite personnelle. \u0026Agrave; ce stade, Reinecke estime que de nouvelles perspectives ne proviennent plus de la sc\u0026egrave;ne artistique politis\u0026eacute;e, qui s\u0026rsquo;est cramponn\u0026eacute;e \u0026agrave; des concepts tels que le progressisme et l\u0026rsquo;authenticit\u0026eacute;, mais du travail politique \u0026agrave; la base d\u0026rsquo;une soci\u0026eacute;t\u0026eacute; d\u0026eacute;mocratique dans laquelle l\u0026rsquo;art perd ses pr\u0026eacute;tentions \u0026eacute;litistes.\u003c/p\u003e\r\n\r\n\u003cp\u003eLes petits bonshommes dessin\u0026eacute;s dans la marge sont dans l\u0026rsquo;ascenseur vers le succ\u0026egrave;s. Le petit bonhomme au chapeau repr\u0026eacute;sente Joseph Beuys. Elle m\u0026rsquo;a racont\u0026eacute; qu\u0026rsquo;on ne lui a pas su gr\u0026eacute; pour la diffusion de ce pamphlet. \u0026laquo;\u0026nbsp;Mais qu\u0026rsquo;est-ce qui te prend\u0026nbsp;?\u0026nbsp;\u0026raquo;, se serait exclam\u0026eacute; Immendorff, \u0026laquo;\u0026nbsp;Ceci est ton arr\u0026ecirc;t de mort\u0026nbsp;\u0026raquo;.\u003c/p\u003e\r\n"},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[{"id":4449,"name":"Chris Reinecke","category":{"en":"Creator","nl":"Vervaardiger","fr":"Créateur"}}]}