Anselm Kiefer Zitate

Anselm Karl Albert Kiefer ist ein deutscher und seit 2018 auch österreichischer Maler und Bildhauer. Er zählt zu den bekanntesten und erfolgreichsten deutschen Künstlern nach dem Zweiten Weltkrieg. Seine Werke wurden auf den bedeutendsten internationalen Kunstausstellungen – documenta 6, 7 und 8, Biennale von Venedig ; – und in vielen Museen Europas, Japans und der Vereinigten Staaten von Amerika ausgestellt. Er wurde mit zahlreichen Preisen und Ehrungen ausgezeichnet.

Kiefer absolvierte sein Kunststudium als Schüler von Horst Antes in Karlsruhe und Joseph Beuys in Düsseldorf. Mit Beuys teilt er die Vorliebe für scheinbar wertlose und verachtete Materialien, vornehmlich für Asche und Blei, die er in seinen monumentalen Bildern, Skulpturen und Installationen vielschichtig zur Wirkung bringt. Seine Karriere begann Kiefer mit einem Skandal, als er im Rahmen einer fotografisch dokumentierten Performance an verschiedenen Stätten Europas den Hitlergruß ausführte. Seine weitere Arbeit war stark geprägt von Themen aus der deutschen Geschichte und Kultur, von der Hermannsschlacht bis zum Nationalsozialismus, kulminierend im Holocaust und der Zerstörung der jüdischen Kultur in Deutschland. Kiefer gilt als ein Erneuerer der Historienmalerei und großer Illustrator geschichtlicher Katastrophen. Generell zählen überlieferte Mythen, Bücher und Bibliotheken zu seinen bevorzugten Sujets und Inspirationsquellen. Literarische Einflüsse, namentlich von Paul Celan und Ingeborg Bachmann, schlugen sich in seinen Arbeiten der mittleren Jahre nieder. In seinem späteren Werk erweiterte er den sondierten Mythenkreis auf jüdisch-christliche, ägyptische und orientalische Kulturen sowie auf Kosmogonien. Als Künstler des Gegenständlichen sucht und findet er in ihnen seine Quellen zur Weltdeutung und entlehnt ihnen Motive für die Darstellung des Unbegreiflichen und Nicht-Darstellbaren. Wikipedia

✵ 8. März 1945

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Anselm Kiefer: Zitate auf Englisch

“[on becoming an artist] It is my profession, yes [ to be an artist] but a calling.. that a little bit pathetic, a little bit bombastic. I think it was much more natural... I Thought – when I was a child – the only method to be not in the world but outside of the world is to be an artist. I feel me outside, yes..”

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n.p.
Tim Marlow joins Anselm Kiefer to discuss his work' - 2005

“This time during the Second World War is part of my history, part of my memory, but it is the latest part of my memory, so the memories of each human being goes much more back, it goes to the dinosaurs, even later [Kiefer means: earlier].... I think we even remember geological times. So this is one little part of our / of mine memory”

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the Second World War
n.p.
Tim Marlow joins Anselm Kiefer to discuss his work' - 2005

“There is a reciprocal action between the work of art and the viewer. The river changes the work of art and criticism can also change the artist... There are so many ideas afloat; any of them could have triggered the work of art. It is impossible to determine exactly if the idea has been transmitted by the critic, or if the work itself has determined its outcome..”

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(1986) n.p.
Structures are no longer valid', in "Ein Gespräch..."

“I am only able to do what stirs me. I want to perceive with my senses things which at the moment are not generally perceived. I do not share, as yet, Beuys' consciousness or hope that all people are moving to a certain point where they all become artists. I am of the opinion that there are artists and non-artists. I think that this is the way it always was and always will be. I do not believe that we are in the center of the world. It is possible that there are gods who do not relate to human. As an artist, I believe that it is possible to depict these forces. I know it sounds absurd when I say that man can perceive some things and adumbrate powers, which do not relate to him. But perhaps the artist, unlike the non-artist, is able to do just that.”

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(1986) n.p.
Structures are no longer valid', in "Ein Gespräch..."

“I want to say something about Picasso as a revolutionary. A revolution in the history of art is a reflection of the history of society. Art cannot revolutionize society. It is a reflection of that revolution.. You [= Joseph Beuys ] talking in the same interview] have revolutionized art. But I do not see that you have revolutionized society directly. You have depicted what has not yet existed.... art and life are not two separate realms, but they have shifted out of phase with each other.”

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(1986) n.p.
Structures are no longer valid', in "Ein Gespräch..."

“Kandinsky was connected with Die Brücke and the Blue Rider: they had a concept and created a reality. But I prefer Jean Fautrier [French painter-artist; 1898 - 1965] with his suffering and self-absorption. And his purpose on bringing about changes was just as strong. As a result I see in Fautrier a stronger paradigm than in Kandinsky..”

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(1986) n.p.
Structures are no longer valid', in "Ein Gespräch..."

“I used my self, my body [in his art] as an instrument.... not only my body but also my spirit.... as an instrument to research something.”

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n.p.
Tim Marlow joins Anselm Kiefer to discuss his work' - 2005

“I perceive existentialism as a necessity of decision. This is the essential aspect of existentialism and simultaneously the most subversive factor..”

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(1986) n.p.
Structures are no longer valid', in "Ein Gespräch..."

“In 1968 the end of art was announced, but this was for political reasons and for the wrong reasons. At that time it was believed that as long as there were only formal relationships, one did not have to deal with a luxury such as art.”

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(1986) n.p.
Structures are no longer valid', in "Ein Gespräch..."

“Perspective and Impressionism were tentative attempts to deal with the world of appearance because of a fear to look inside. Cubism is structure and order. Now both epidermis and order are no longer possible.... The accidental aspects of Impressionist composition are to be understood as a reaction. And the reaction of Cézanne is to be seen as a response to Impressionism. One cannot simply disregard Impressionism. As a dialectic antithesis it was important. The Impressionists had the idea of dissolution; they wanted to represent light, not bodies and not shadows, but light for itself. Frequently I find this tedious, but there is an idea behind it: Atomization is a modern idea..”

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(1986) n.p.
Structures are no longer valid', in "Ein Gespräch..."

“What interests me is the transformation, not the monument. I don't construct ruins, but I feel ruins are moments when things show themselves. A ruin is not a catastrophe. It is the moment when things can start again.”

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Quoted in Huffington Post http://www.huffingtonpost.com/joshua-schwartz/in-the-beginning-there-was-not_b_1703387.html

“I do not believe that there is an external element to be disrupted now. The situation is different from the period of the Dadaists. There is nothing to overthrow now, because everything has been co-opted. To be subversive now in the sense of Dadaism would be reactionary, because now it would be the attitude of model students..”

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(1986) n.p.
Structures are no longer valid', in "Ein Gespräch..."

“Mondrian began with his paintings of the seashore, with blue trees and the cathedral. These paintings were totally symbolist paintings... Until the very end Mondrian remains a Symbolist and an Expressionist.”

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(1986) n.p.
Structures are no longer valid', in "Ein Gespräch..."

“Why have our standards fallen so low? Why do we have all these ugly things which nobody needs? Industrial manufacture and new materials have led to truly unlimited possibilities of forms. There are no longer any natural constraints which depend on materials such as wood and stone. We simply manufacture everything that is technically possible and lack new structures on which to base our decisions.”

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(1986) n.p.
Structures are no longer valid', in "Ein Gespräch..."

“When knowledge becomes rigid, it stops living.”

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Heaven and Earth, p. 167 http://books.google.co.uk/books?id=k6FPAAAAMAAJ&q=%22When+knowledge+becomes+rigid,+it+stops+living.%22&dq=%22When+knowledge+becomes+rigid,+it+stops+living.%22&source=bl&ots=qc5GkHZ7W8&sig=r4fvHty8ZLizfGWjXOpnguqLRTQ&hl=en&sa=X&ei=ZTxzUNKiI4Si0QWO2YH4Ag&ved=0CDAQ6AEwAA

“Until the artist is dead, we are not able to determine his work in all its dimensions.”

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(1986) n.p.
Structures are no longer valid', in "Ein Gespräch..."

“[referring to his painting 'Everyone Stands under His Own Dome of Heaven' (1971): It is a man in his own universe. It [the painting] was a quotation of, taken out of Robert Musil's novel 'Der Mann ohne Eigenschaften'; how do you translate it in English? 'The Man without qualities', I think – the most important book of the 20th century I would say. So this is a quotation: Jeder Mensch soll nach seine Himmel gucken.... I meant there is no objective truth. So as I discovered later, there is no objective history. There is no history; each human being made its own history – has his own thoughts and his own world. And sometimes two domes touch each other, or cross each other, but everyone is alone with its own illusions and methods..”

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n.p.
Tim Marlow joins Anselm Kiefer to discuss his work' - 2005

“The Germans always had difficulties with their identity. Either it was too much and too loud, or it was hidden and too subservient. The French always had a healthy self-confidence. When they spoke of a 'grande nation' it was not dangerous. De Gaulle could say on Martinique: 'Behind me is the ocean. In front of me is France.”

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(1986) n.p.
Structures are no longer valid', in "Ein Gespräch..."

“What fascinates me about Duchamp is the idea of tearing down the wall between the art object and reality.”

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Quelle: "Anselm Kiefer and the Philosophy of Martin Heidegger" Matthew Biro, Cambridge University Press 1998, p. 304

“When I went to school [art-school - Joseph Beuys was one of his art teachers and a very inspiring one] there was Pop Art. The Americans dismissed us from our responsibilities. They mailed us Care packages and Democracy. The search for our own identity was postponed. After the 'time of misfortune' as it has been called euphemistically, one thought in 1946 to begin anew. Even now we talk about the 'Point Zero'. But that is not possible; this is nonsense. The past is tabulated because to confront it would necessitate denial and disgust..”

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(1986) n.p.
Structures are no longer valid', in "Ein Gespräch..."

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