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Joseph Beuys (12. Mai 1921 in Krefeld; † 23. Januar 1986 in Düsseldorf)



Art into Society - Society into Art (at the ICA, London. May, 1974)


1. ICA Lecture (1974) [English]



2. Verschiedene Teile Des Konzerts
3. Zusammenhängender Teil



Jeder Mensch ein Künstler (1978)


1. Part 1

2. Part 2

3. Part 3


Vortrag und Diskussion am 23. März 1978 im Humboldt-Haus des Internationales Kulturzentrums Achberg (INKA) 192 Minuten, drei CD's in PVC-Hülle mit kart. Umschlag, zwei Abb. Aktueller denn je!

der Erweiterte Kunstbegriff, die gesellschaftspolitische Aufgabe, das Umdenken von Geld- und Kapitalbegriff nach Wilhelm Schmundt, aber auch ua. zu Marcel Duchamp u.v.m. "Das menschliche Denken als ein universelles Werkzeug zur Erneuerung der menschlichen Zukunft ist noch größer als alles!" (Beuys) - ein erquickend frischer Vortrag aus der Gründerzeit des Erweiterten Kunstbegriffs. der "wirtschaftliche" unter den Beuys-Vorträgen. Schriftliche Ausgabe in "Kunst = Kapital" (FIU-Verlag)



Abstract Energy (LP, 1985)


A Endless Music Goes Zen (Engineer - Ludiger Becker)


B1 Dilletantism No. 3


B2 Dilletantism No. 6


B3 Musik der Stille Und Der Meditation


B4 Endless Music


B5 Endless Music


B6 Spontanes Konzert (Performer - Albrecht/d., Joseph Beuys; ICA 1974)


B7 Zirkus (Cello - Frans Weyler)


B8 Endless Music


B9 Endless Music (A Und B Gross Gerau)


B10 Endless Music 1975 (Cymbal - Ralf Jaiser . Featuring - Joe Jones [Elektro-mechanic Instruments])


B11 Untitled (Live At Martello Street, London) (Performer - Albrecht/d., Chris Carter (2) , Cosey Fanni Tutti , Genesis P-Orridge)


Homage ┴ Bali


B12 - B12.1 (A), B12.2 (B), B12.3 (C)


B13 Endless Music (Strings [Bowed Stringinstrument] - Angelika Schmidt) [file missing - if you have a copy, please contact us]


B14 Instant Life / Instant Love / Instant Death (Saxophone - Volker Hamann)


B15 Instant Life / Instant Love / Instant Death (Synthesizer [Casio] - Marie Kawazu)





Abstract Energy


B16.1 (A) (Saxophone - Steffen Bremer), (B) (Shakuhachi - Frans Dreyer), (C) (Shakuhachi - Frans Dreyer)


Label: Samadhi Records
Catalog#: 1005
Format: Vinyl, LP
Country: Germany
Released: 1985


Credits: Featuring [Background Music] - Bernd Jaiser (tracks: B4, B5, B8, B10)
Flute - Katerina Z. (tracks: B12.1 to B12.3)
Photography - Ludiger Becker

Notes: LP in gatefold cover with 8-paged booklet (Sonder-Nr. d. Zeitung "Kinky Beaux Arts"). Recordings from 1970 - 1985.





Joesph Beuys: Various Tracks


1. Side A: Sonne statt Reagan


2. Side B: Krafte sammeln

Joseph Beuys: Sonne statt Reagan / Krafte sammeln (EMI Electrola (Musikant), Koln, 1982)

Cover: two-color print, design: Joseph Beuys, Adam Backhausen, Manfred Boecker. 30cm, 45RPM, EMI Electrola (Musikant), Koln, No. 1C K 052-46 614 Z.

Performed by: Joseph Beuys, Klaus Heuser, Wolf Mahn, Susanne Stenchly, Gunne Wagner, Steve Borg, Alain Thome, Helmut Russmann, John, K.H. Putz. Contents: Sonne statt Reagan. Krafte sammeln.



3. JA JA JA JA JA, NEE NEE NEE NEE NEE (1968)
(Voice: Joespeh Beuys)

4. Abschiedssymphonie, Side A
(Perf: Henning Christiansen (p), Nam June Paik (p, voice), Joseph Beuys (telephon)

5. Abschiedssymphonie, Side B
(Perf: Henning Christiansen (p), Nam June Paik (p, voice), Joseph Beuys (telephon)

6. In Memoriam George Maciunas, 1931-1978
(Perf: Nam June Paik, Joseph Beuys (telephon)

7. Scottische Symphonie. Requiem of Art, Part 1
(Perf: Joseph Beuys / Henning Christiansen)

8. Scottische Symphonie. Requiem of Art, Part 2
(Perf: Joseph Beuys / Henning Christiansen)

9. Requiem of Art (aus Celtic) (Fluxorum Organum II)
(score/tape realization: Henning Christiansen, 1973)



NOTES


A JA JA JA JA, NEE NEE NEE NEE NEE, 1968

Konzept, Ausführung und Stimme: Joseph Beuys. Beteiligung: Johannes Stüttgen, Henning Christiansen. Staatliche Kunstakademie Düsseldorf, 14. Dezember 1968, Raum 19. Spielzeit: 64’53’’.

Audio-CD mit einer Einführung von Eugen Blume und Johannes Stüttgen. Eva und Wenzel Beuys dokumentieren und erläutern in einem Kapitel Werkbezüge, wann und wie Beuys das Stück in späteren Arbeiten miteinbezogen hat. In dem Aufsatz "Wie das Stück entstand“ berichtet Stüttgen von einem Besuch bei Beuys. Die Professorenkollegen hatten soeben (22.11.1968) gegen ihn das Mißtrauensmanifest publiziert. Beuys, so berichtet Stüttgen weiter, kam von einer Beerdigung am Niederrhein. Statt über die akademisch-politische Lage zu sprechen, erzählte er mit Vergnügen, daß beim Totenkaffee lauter alte Frauen um den Tisch gesessen und immer den gleichen "Sermon“ pausenlos und stundenlang gemurmelt hätten: "Ja Ja Nee Nee“. Laszlo Glozer schreibt: ",Das Schweigen von Marcel Duchamp‘, so Beuys, ‘wird überbewertet‘. Tatsächlich hat gerade Beuys die bis heute unterschwellig wirksame dadaistische Antikunst-Haltung für sich ganz außer Kraft gesetzt. Duchamp bestand auf seinem ,nein‘ und nutzte den Geist der Negation zu einer Reihe genialer Kunst-Erfindungen. Beuys stammelt in gläubiger Hingabe, so hört sich’s an, sein ,ja, ja, ja, nee, nee, nee‘ und verläßt sich ganz ohne Skepsis auf die Eingebung.“ Das Stück, am Anfang lustig und amüsant -- Beuys spricht mit rheinischem Akzent --, erhält nach einiger Zeit eine große Intensität. Es ist nicht übertrieben, von einem Klangraum zu sprechen, einer Beuys’schen Skulptur.


Abschiedssymphonie / 1988

Cover: one color print. 30cm, 33RPM, 1988, Edition Block, Berlin + Lebeer Hossmann, Hamburg / Brussel, No. EB 118.

The opus 177 of the Danish composer is based on sound-material of the opening-concert to the "Peace Biennale" in Hamburg, November 29, 1985.


In Memoriam George Maciunas, 1982

3-sided LP, Edition Block, Germany, GR-EB 113/14, 1982 Klavierduett: Joseph Beuys & Nam June Paik Fluxus-Soiree der Galerie Rene Block in der Aula der Staatlichen Kunstakademie, Dusseldorf Frietag, 7.Juli 1978, 20 Uhr

In 1978 George Maciunas, founder and chairman of FLUXUS, died in New York at the age of 47. In invert of these numbers the duration of the piano-duett, performed to his memory by Joseph Beuys and Nam June Paik was planned for 74 minutes. The end of this memorable evening at the Kunstakademie of Dusseldorf was determined by an alarm-clock, set for 9.14 pm.


"Scottische Symphonie. Requiem of Art"

Bernd Kluser / Jorg Schellmann, Germany, 2nd Edition (800 copies), 1986

Joseph Beuys / Henning Christiansen "Scottische Symphonie (aus Celtic)", recording: College of Art, Edinburgh, 21.8.1970

Henning Christiansen "Requiem of Art (aus Celtic) (Fluxorum Organum II)", score/tape realization: Henning Christiansen, 1973





JOSEPH BEUYS:A BRIEF BIOGRAPHY


Joseph Beuys was born in 1921 in Krefeld, a city in northwestern Germany near the Dutch border. He grew up in the nearby towns of Kleve and Rindern, the only child in a middle class, strongly Catholic family. During his youth he pursued dual interests in the natural sciences and art, and he chose a career in medicine. In 1940 he joined the military, volunteering in order to avoid the draft. He was trained as an aircraft radio operator and combat pilot, and during his years of active duty he was seriously wounded numerous times. At the end of the war he was held in a British prisoner-of-war camp for several months, and returned to Kleve in 1945.

Coming to terms with his involvement in the war was a long process and figures, at least obliquely, in much of his artwork. Beuys often said that his interest in fat and felt as sculptural materials grew out of a wartime experience--a plane crash in the Crimea, after which he was rescued by nomadic Tartars who rubbed him with fat and wrapped him in felt to heal and warm his body. While the story appears to have little grounding in real events (Beuys himself downplayed its importance in a 1980 interview), its poetics are strong enough to have made the story one of the most enduring aspects of his mythic biography.

On his return from the war Beuys abandoned his plans for a career in medicine and enrolled in the Dčsseldorf Academy of Art to study sculpture. He graduated in 1952, and during the next years focused on drawing--he produced thousands during the 1950s alone--and reading, ranging freely through philosophy, science, poetry, literature, and the occult. He married in 1959 and two years later, at the age of 40, was appointed to a professorship at his alma mater.

During the early 1960s, Düsseldorf developed into an important center for contemporary art and Beuys became acquainted with the experimental work of artists such as Nam June Paik and the Fluxus group, whose public "concerts" brought a new fluidity to the boundaries between literature, music, visual art, performance, and everyday life. Their ideas were a catalyst for Beuys' own performances, which he called "actions," and his evolving ideas about how art could play a wider role in society. He began to publicly exhibit his large-scale sculptures, small objects, drawings, and room installations. He also created numerous actions and began making editioned objects and prints called multiples.

As the decades advanced, his commitment to political reform increased and he was involved in the founding of several activist groups: in 1967, the German Student Party, whose platform included worldwide disarmament and educational reform; in 1970, the Organization for Direct Democracy by Referendum, which proposed increased political power for individuals; and in 1972, the Free International University, which emphasized the creative potential in all human beings and advocated cross-pollination of ideas across disciplines. In 1979 he was one of 500 founding members of the Green Party.

His charismatic presence, his urgent and public calls for reform of all kinds, and his unconventional artistic style (incorporating ritualized movement and sound, and materials such as fat, felt, earth, honey, blood, and even dead animals) gained him international notoriety during these decades, but it also cost him his job. Beuys was dismissed in 1972 from his teaching position over his insistence that admission to the art school be open to anyone who wished to study there.

While he counted debate, discussion, and teaching as part of his expanded definition of art, Beuys also continued to make objects, installations, multiples, and performances. His reputation in the international art world solidified after a 1979 retrospective at New York's Guggenheim Museum, and he lived the last years of his life at a hectic pace, participating in dozens of exhibitions and traveling widely on behalf of his organizations. Beuys died in 1986 in Dčsseldorf. In the subsequent decade his students have carried on his campaign for change, and his ideas and artwork have continued to spark lively debate.


-Joan Rothfuss, Walker Art Center curator



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