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In the optimistic social atmosphere of the cold war era, the European field of arts coexisted in the strong current of abstract art, minimalism and concept-art. The social and ideological upheaval after 1968 was reflected on art, and was succeeded by a subjective and turbulent art movement in the 1970s. In the late 1970s and early 1980s, various exhibitions, demonstrating this new trend, were held in many European cities-starting with the group exhibition 《Muhlheimer Freiheit》 in Koln and the 《Berliner Heftigen》 exhibition in Luzem. Futher they proved their existence in a more international and greater form in the 《Westkunst》 exhibition in Koln 1981, in 《A New Spirit in Painting》 exhibition in London 1981 and in the 《Kassel Documenta Ⅶ》 1982. This new trend was finally recognized as a movement in the 《Zeitgeist》 exhibition in Berlin 1982.
The 《Zeitgeist》 exhibition was held at ‘Martin Gropius Bau’ and was organised by the Greek critic Christos Joachimides and the British critic Norman Rosenthal. These two already had held the 《A New Spirit in Painting》 exhibition with Nicholas Sarota in London a year ago. In their 1981 exhibition, they concentrated, as Joachimides insisted, on the new European and American phenomenon that was represented by the enthusiasm for drawing, and on the mental change of how this enthusiasm revealed itself. In the 《Zeitgeist》 exhibition they rearranged the artists that participated in their London exhibition and invited German neo-expressionist artists. The exhibition was expanded, compared to the former one, and the neo-expressionist artists were placed in the center. Martin Gropius Bau has a garden covered with a glass ceiling and surrounded with pillars, and there were the expressive works of R. Fetting, F. Clemente, Salome, D. Salle, M. Paladino, H. Middendorf, S. Chia, and B. Mcleans enormous (3×4m) size. Especially Penk’s work was arranged on the stairs that connected the 1st and 2nd floor. Their works and the spadous exhibition rooms formed a powerful contrast compared to the shabby and old exterior. This exhibition was mainly for expressionist art works, and they expressed the diversity of Zeitgeist by visualizing frustration, anger, hope, sarcasm, despair, death, humor and temperance. 45 artists from different countries-18 from Germany, 2 from Austria, 9 from America, 7 from Italy, 5 from the Great Britain and 4 each from France, Czechoslovakia, Denmark, and Holland-brought 237 pieces, and constituted a grand panorama of the 1970s various expressionist art achievements.
Berlin was bisected after World War Ⅱ, and the city itself represented the political conflict in Germany. After the movement of the Die Brucke artists, except the period of the Nazi regime, it also developed steadily its own expressionist paintings. The fact that the curators of this exhibition chose this city and Martin Gropius Bau, that had a unique political and art-historical background, showed their culturally and politically challenging intention. The title of Exhibition 《Zeitgeist》 also revealed their experimental spirit. In the 1960s and 1970s European art had made progress under the strong influences of American art. The curators resisted to this tradition and conceived Germany as the new core of the cultural world. They put Berlin in the center of this new Zeitgeist, considered it to be the driving force of a new trend, and perceived that Berlin had the power to accomplish the new cultural and political change. (It is confirmed that the exhibitions in London and Berlin were strategically designed under a strong cultural and political motivation.) As a result, this exhibition made them remarkable exhibition organizers, and it made so clearly a turning point in 20th century art that let German Neo-Expressionism draw new international attention.
Since 1982, the year of the Berlin exhibition, exhibitions of German paintings were held all over the world. German expressionism gained international recognition and caused fierce discussions, that could be represented by Buchlohs and Kuspits statements. These discussions can be summarized into four questions. First, can Neo-Expressionism be regarded as a postmodernist phenomenon? Second, what about the violence that is revealed in German paintings? Third, is this movement generated culturally and politically to gain a cultural dominance? Fourth, is it possible for paintings to come back into play?
Neo-Expressionism is already recognized as a representative movement of postmodern art movements. As the extended psychological researches about violent instincts of human being, not only German art but ‘art’ in general term will constantly reflect the human instincts. The question about violence or aggressiveness will remain a continuous and important topic of art. As it is revealed in the observation of this exhibition, it is obvious that the European movements of art, including Neo-Expressionism, were challenges against the American cultural dominance in the post war era. This intention firmly took place in the artists will of making form. The exhibition curator dressed them in clothes called an exhibition, and proudly presented it to the world. As new kinds of paintings, like Neo-Expressionism, was accepted world wide in the 1980s. It seemed as the crisis of painting was overcome, but recently under the prevailing current of new media, painting is facing a more serious situation. As long as human beings think in images, it is impossible to exterminate the organic relations among production of image, communication, perception and reproduction of image. The problem at this point is that the method of image-making has transcended the range of painting long ago. Now the fate of painting lies in its autonomy and the invisible hand of the market, because artists want to have an art-historical meaning and economic success at the same time. Therefore I think we have to listen to Belting who argues that we have to question ourselves why the main method of expression in modern art still has to be painting. He insists that in the violent current of modern technology, painting, the main method of expression that has been dominant since the Renaissance, will have to give way to the new media that has been provided by the modern civilization.
The 《Zeitgeist》 exhibition was held at ‘Martin Gropius Bau’ and was organised by the Greek critic Christos Joachimides and the British critic Norman Rosenthal. These two already had held the 《A New Spirit in Painting》 exhibition with Nicholas Sarota in London a year ago. In their 1981 exhibition, they concentrated, as Joachimides insisted, on the new European and American phenomenon that was represented by the enthusiasm for drawing, and on the mental change of how this enthusiasm revealed itself. In the 《Zeitgeist》 exhibition they rearranged the artists that participated in their London exhibition and invited German neo-expressionist artists. The exhibition was expanded, compared to the former one, and the neo-expressionist artists were placed in the center. Martin Gropius Bau has a garden covered with a glass ceiling and surrounded with pillars, and there were the expressive works of R. Fetting, F. Clemente, Salome, D. Salle, M. Paladino, H. Middendorf, S. Chia, and B. Mcleans enormous (3×4m) size. Especially Penk’s work was arranged on the stairs that connected the 1st and 2nd floor. Their works and the spadous exhibition rooms formed a powerful contrast compared to the shabby and old exterior. This exhibition was mainly for expressionist art works, and they expressed the diversity of Zeitgeist by visualizing frustration, anger, hope, sarcasm, despair, death, humor and temperance. 45 artists from different countries-18 from Germany, 2 from Austria, 9 from America, 7 from Italy, 5 from the Great Britain and 4 each from France, Czechoslovakia, Denmark, and Holland-brought 237 pieces, and constituted a grand panorama of the 1970s various expressionist art achievements.
Berlin was bisected after World War Ⅱ, and the city itself represented the political conflict in Germany. After the movement of the Die Brucke artists, except the period of the Nazi regime, it also developed steadily its own expressionist paintings. The fact that the curators of this exhibition chose this city and Martin Gropius Bau, that had a unique political and art-historical background, showed their culturally and politically challenging intention. The title of Exhibition 《Zeitgeist》 also revealed their experimental spirit. In the 1960s and 1970s European art had made progress under the strong influences of American art. The curators resisted to this tradition and conceived Germany as the new core of the cultural world. They put Berlin in the center of this new Zeitgeist, considered it to be the driving force of a new trend, and perceived that Berlin had the power to accomplish the new cultural and political change. (It is confirmed that the exhibitions in London and Berlin were strategically designed under a strong cultural and political motivation.) As a result, this exhibition made them remarkable exhibition organizers, and it made so clearly a turning point in 20th century art that let German Neo-Expressionism draw new international attention.
Since 1982, the year of the Berlin exhibition, exhibitions of German paintings were held all over the world. German expressionism gained international recognition and caused fierce discussions, that could be represented by Buchlohs and Kuspits statements. These discussions can be summarized into four questions. First, can Neo-Expressionism be regarded as a postmodernist phenomenon? Second, what about the violence that is revealed in German paintings? Third, is this movement generated culturally and politically to gain a cultural dominance? Fourth, is it possible for paintings to come back into play?
Neo-Expressionism is already recognized as a representative movement of postmodern art movements. As the extended psychological researches about violent instincts of human being, not only German art but ‘art’ in general term will constantly reflect the human instincts. The question about violence or aggressiveness will remain a continuous and important topic of art. As it is revealed in the observation of this exhibition, it is obvious that the European movements of art, including Neo-Expressionism, were challenges against the American cultural dominance in the post war era. This intention firmly took place in the artists will of making form. The exhibition curator dressed them in clothes called an exhibition, and proudly presented it to the world. As new kinds of paintings, like Neo-Expressionism, was accepted world wide in the 1980s. It seemed as the crisis of painting was overcome, but recently under the prevailing current of new media, painting is facing a more serious situation. As long as human beings think in images, it is impossible to exterminate the organic relations among production of image, communication, perception and reproduction of image. The problem at this point is that the method of image-making has transcended the range of painting long ago. Now the fate of painting lies in its autonomy and the invisible hand of the market, because artists want to have an art-historical meaning and economic success at the same time. Therefore I think we have to listen to Belting who argues that we have to question ourselves why the main method of expression in modern art still has to be painting. He insists that in the violent current of modern technology, painting, the main method of expression that has been dominant since the Renaissance, will have to give way to the new media that has been provided by the modern civilization.
목차
Ⅰ. 들어가는 말
Ⅱ. 왜 ‘시대정신(Zeitgeist)’ 인가?
Ⅲ. 《시대정신전 Zeitgeist Ausstellung》(Berlin)
Ⅳ. 맺는말
참고문헌
Abstract
「1980년대 신표현주의와 ‘시대정신(Zeitgeist)’ : 《시대정신전 Zeitgeist Ausstellung》의 미술사적 의미와 한계」에 대한 질의(송남실)
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