aus Paul Coelho's "Bekenntnisse eines Suchenden"
"Die Geschichte reicht die Erfahrungen dieser Generation von Generation zu Generation weiter, und zwar von Herz zu Herz. Und die Kunst gibt im allgemeinen die Quintessenz - um einen Begriff aus der Alchemie zu benutzen - aller Dinge weiter, den ich kann Dir nicht erklären wie die Welt war.
AberAber wir haben die Poesie um es zu sagen, wir haben die Malerei, wir haben die Bildhauerei, ein Gebäude, dem Du Deine Gefühle, Deine Seele eingibst.
Eines Tages werden Deine Enkel davor stehen und sehen was Du von Innen heraus geschaffen hast, und vielleicht erkennen und begreifen Sie nicht die ganze Geschichte, so wie Sie auch nicht wissen können wer diese Weintraube gepflückt hat, aber Sie werden wie wir eine große Freude empfinden.
Das genau ist die Quintessenz.
Vielleicht haben wir aus unserem Wunsch nach Unsterblichkeit heraus Kinder und bauen Häuser, auch wenn ich glaube, daß dies noch darüber hinausgeht, denn sonst hätten Künstler keine Kinder. Sobald Du Kinder hast, weisst Du, daß Du eine starke Spur hinterlässt und nicht unbedingt noch andere Spuren hinterlassen mußt.
Ich denke, daß wir dies Alles hinterlassen, weil wir etwas mit Anderen teilen wollen, weil wir das Leben lieben, und nicht aus Angst vor dem Tod, sondern weil in uns eine Liebe ist, die wir mit Anderen teilen wollen. Diese Liebe erfüllt uns, vom ersten Augenblick an, in dem sie uns erfüllt, den Wunsch wach werden, sie zu zeigen !"
Jürgen Messensee :
"Malerei ist die Weitergabe von Informationen unter den Bedingtheiten der eigenen Zeit."
The following Essay is from the book
from Anne Seymour
That art is part of man's ( and woman's )* evolutionary process has been generally disregarded in recent years. Yet throughout the past two centuries art has primarily reflected how we see ourselves in relationto the universe. It has reflected first how we believe we are constructed mentally, physically and spiritually and how we respond to the multiple forces which surround us. Secondly it has discussed the question of the evolution of the human race and whether we have the freedom of will and ability to affect our course of our actions. In the past two decades, a new wave of individual consciousness and a general information explosion has led to an alternativ view of modern art not confined to it's appearence alone although art history still does not demonstrate that art has a real function in life as it is lived. We have arranged this exhibition because we believe that these artists - among many others - had a reason for existing which was not merely decorative or reflective.
Both Beuys and Klein saw themselves as prophets or forerunners of a new age, and Klein looked upon Rothko as a precursor. Mark Rothko was not a prophet in the public sense, but his work deals with the language of the future and the normally invisible world, exploring newly discovered areas of consciousness far ahead of his time. Now, nearly twenty years after his death, his paintings are better appreciated, but certainly still not fully. According to Dore Ashton, Rothko felt it a great sadness at the end of his life that his enterprise was not generally understood. He felt alienated by the art of the das, considering many artists simply pattern makers and there work without spiritual content.
"I am not interested in relationships of colour or form or anything else", he told Seldon Rodman. "I am interested only in expressing the basic human emotions....". The people who weep before my pictures are having the same relgious experience I had when I painted them. And if you, as you stay, are moved only by their colour relationships, then you miss the point. "
Rothko was one of the most articulate and intellectual artists of his generation. Fuelled by the Bible, Shakespeare, Plato, Greek Tragedy, Nietzsche, Kierkegaard, Frazer's Golden Bough, anda desire for individual and social freedom (which reminds us of his origins in pre-revolutionary Russia), learning from the German Expressionists, Miro, Matisse, Mondrian and Surrealism, he spent along years building foundations, not only for himself, before coming upon the most remarkable of his discovered. During that time he helped construct the necessary basis and moral ground rules for the first international American art, so that, like his own work, proceeding according to Goethe's principle of truth to the inner self rather than the external propsof culture, it could deal fearlessly with large issues, large emotions - tragedy, ecstasy, fear, birth and death - the whole "tragic - religious drama", as Rothko put it, that is life.
....to be continued....