Jonathan Meese

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Jonathan Meese (2009)
Jonathan Meese (2019)

Jonathan Robin Meese (born January 23, 1970 in Tokyo ) is a German artist . His works include paintings , sculptures , installations , performances , collages , video art, and theater works . He mainly focuses on personalities from world history, primal myths and heroic sagas . Jonathan Meese lives and works in Ahrensburg and Berlin .

life and work

Childhood and Adolescence (1970–1995)

Jonathan Meese was born the third child of a German and a Welshman in Tokyo, Japan. His mother, Brigitte Renate Meese, born in Stuttgart , birth name Wetzel, returned to Germany with the children in the mid-1970s and settled in Hamburg. His father, the banker Reginald Selby Meese, born in Newport ( Wales ), continued to live in Japan until his death in 1988.

Since Meese only spoke Japanese after his return to Germany, he had difficulty adjusting. In 1989 Meese graduated from the Stormarn School in Ahrensburg in Holstein . As a "late developer" at the age of 22, he was at the development level of a 16-year-old. After a language stay by Meese in Scotland , the single mother registered him for a degree in economics , which, according to the mother, "was a disaster".

My interest in art began at the age of 22. For his birthday he wanted a drawing pad and colored pencils. This was followed by drawing and erasing courses.

Studies and first success (1995–1998)

Meese studied from 1995 to 1998 at the Hamburg University of Fine Arts with Franz Erhard Walther , but dropped out without a degree. The painter Daniel Richter recommended his friend Meese to the gallery owners Nicole Hackert and Bruno Brunnet from the Berlin gallery “Contemporary Fine Arts”, whereupon they signed the young artist under contract. The Kunstverein Kehdingen presented Jonathan Meese to the public for the first time in a group exhibition. The first solo exhibition "Glockengeschrei nach Deutz" followed in the Buchholz gallery in Cologne.

Enthusiastic about Meese's room installations, the producer Claus Boje and the director Leander Haußmann commissioned him to create a backdrop for their joint film Sonnenallee in autumn 1998 . Eventually, he also got a role in the film, playing a crazy artist. Meese's work for Sonnenallee was shown in an exhibition at the New Aachen Art Association in 1999 .

First Berlin Biennale and the step abroad (1998)

Meese has been drawing attention to himself in the art scene with installations, performances and actions since 1998. At the Berlin Biennale , curated by Klaus Biesenbach , Hans-Ulrich Obrist and Nancy Spector , Meese met a broader public for the first time. Meese presented the installation “Ahoi der Angst”, a photo collage and a dedication to the Marquis de Sade , who would later also be featured in Meese's work. Politicians, actors and musicians were shown in photo collages. In addition, the visitor could listen to music, read poems by Rolf Dieter Brinkmann or watch the video Caligula . There were also posters by Rainer Werner Fassbinder, Klaus Kinski , Nina Hagen , Little Joe and Oscar Wilde .

Due to the increased media presence of the Berlin Biennale, Meese's work was also for the first time publicly analyzed and commented on at home and abroad on a broader scale. The art magazine Art described the installation as a “labyrinth of sentimentalities”. The author Peter Richter also took up the spatial aspect by describing the work as a "horror cabinet between porn, Charles Bronson and Slayer". The Berliner Zeitung described it as a "trashed boys room".

In the same year Meese presented his work abroad for the first time. In Switzerland he took part in the Basel art fair “List 98”, in Vienna he took part in the group exhibition “Junge Szene '98”, and in the “South London Gallery” in London he participated in the “Site Construction” exhibition in France at the “Galerie de l'Ecole Supérieure des Beaux-Arts de Marseille” at the “Today Tomorrow” exhibition.

Increased international exhibitions (1999-2005)

From 1999 Meese took part in a large number of national and international group and solo exhibitions. In particular, room installations and performances were shown. Meese himself is at the center of his oeuvre: whether in the form of self-portraits or disguised in persona, in actions, collages, pictures and drawings. The thematic content comes predominantly from National Socialism , there are also linguistic and theatrical references to the German history of philosophy and literature. In actions and performances themed Meese especially Adolf Hitler , pointing repeatedly and provocatively the banned since 1945 in Germany and Austria Hitler salute .

Stage design and theater work

Initially focused on installations, actions and performances, from 2004 Meese also turned to the theater stage, whereby the agglomeration of different materials, carriers of meaning, objects and media (photographs, books or music) continue to be used as a pictorial means in the context of stage work.

For the staging of the Pitigrilli novel Kokain by Frank Castorf , Meese designed the stage set, which was reminiscent of the Iron Cross in its floor plan , but only appeared as a "normal" stage set with stairs and ramps when viewed from the audience. In the same year he staged a play in the Schlosspark zu Neuhardenberg together with director Martin Wuttke . In the play Zarathustra. The characters are on their way. he deals with the philosopher Friedrich Nietzsche . In 2006, Capital magazine ranked him among the hundred most important artists for the first time.

“The whip of memory” - together with Daniel Richter

The Archbishop's grave of Stade Gottfried von Arnsberg from the 14th century served as a template for the work cycle “The Whip of Memory”. In a first series, works were created together with Daniel Richter that document how the two artists deal with history. The exhibition was shown for the first time at the Kunsthaus Stade ; in the following years the group of works was shown in Hamburg (2006 and 2008), Berlin (2006), Freiburg (2007), Grenoble (2006), Rosenheim (2007) and Biel (2011). Jonathan Meese created additional works for the various exhibition locations.

Retrospective "Mama Johnny" and the time afterwards (2006–2008)

With a total of 150 paintings, sculptures, photographic and installation works, the first comprehensive overview of works was created under the title “mama johnny” in the Deichtorhallen in Hamburg. As part of the four-month, comprehensive retrospective on around 2,500 square meters, an 8 × 20 × 40 meter "Black Box" was shown in which the stage set designed by Meese for Frank Castorf's production "Cocaine" was exhibited and as part of a one-off guest performance by the Berliners Volksbühne was used as a theater space. Two other large, free-standing and walk-in sculptures were exhibited next to a castle and the black box.

The five-meter high “Maldororturm” contains photo collages, writings, sculptures and videos in which Meese artistically deals with the tyranny of the state. In addition, a rotating "Parcifal head" was exhibited, a skull by Richard Wagner, which Meese used in the performance "Jonathan Meese is Mother Parzifal" in the Berlin State Opera.

In 2007, Jonathan Meese directed the play “De Frau: Dr. Poundaddylein - Dr. Ezodysseusszeusuzur ”at the Volksbühne Berlin .

In 2009 he designed an exhibition on the subject of Atlantis for the Arp Museum Bahnhof Rolandseck .

Meese has been designing the medal for the Roland Berger Prize for Human Dignity since 2008 .

Jonathan Meese portrayed by Oliver Mark , Berlin 2009

Exhibitions "Erzstaat Atlantisis" and "Meat is harder than steel ..." (2009)

“Erzstaat Atlantisis” (dictatorship of art), performance, Arp Museum Bahnhof Rolandseck, Remagen, 2009

At the Arp Museum Bahnhof Rolandseck in Remagen , Jonathan Meese staged an exhibition curated by Daniel J. Schreiber from May 1 to August 30, 2009 under the title “Erzstaat Atlantisis”, consisting of 170 sculptures, 14 paintings and eleven artist books in showcases , ten films, four sound sources and a large collage. The works were presented in dialogue with the works of Joseph Beuys on the subject of Atlantis. In 1955 Beuys drew two depictions on a sheet of paper folded in half, which he later called Atlantis. At the opening of the exhibition, Meese crossed the Rhine several times as part of a performance accompanied by a marching band, dressed in a uniform and sitting in a military jeep on a ferry, then accompanied by representatives of the press and media after shouting slogans relating to his dictatorship of art Arp Museum Rolandseck. According to Meese, Atlantis “did not go under, it camouflaged itself. Since the Dalai Lama has been involved, Atlantis is gone. The journey inside, which always ends with death. It's a synonym for death. And if any preacher or prophet or guru offers you a journey inside, then he offers death. "

On the discarded museum bow of the cruiser Puglia in the garden of the Vittoriale degli italiani in Gardone Riviera , Italy, Meese presented the installation “AHAB says: MOBY DICK is NO DEMOCRACY, ALL DEMOCRATS will soon NO longer be in one BOAT (battleship of ART never sinks) ”. The leitmotif is the writer Gabriele D'Annunzio , one of Benito Mussolini's mentors and leading figure for Italian fascism, which the Puglia received as a gift from the Italian Navy in 1923. From the bridge of the former command center, Meese declared in the radio performance "DON LOLLYTADZIOZ Metabolismys does not stink (PUPS)" recorded on June 5, 2009, following the example of D'Annunzio, that he was going on the air with a dictatorship of art.

In the Mönchehaus Museum Goslar , artist friends Jonathan Meese and Herbert Volkmann showed from July 17 to September 20, 2009 under the title “Meat is harder than steel - SEA HORSE FÖTUSMANN AND BEAUSATAN CHEESE AT THE OZBAR (Die Geilblökenden DINGER)” individual and group -Work whose content concept refers, among other things, to Goslar, royal seat as well as " Reichsbauernstadt " under the National Socialists and the friendly relationship between Meese and Volkmann, one of Meese's first collectors. The short version of the "Goslar - Hall Manifesto" published for this purpose explains in 12 points, in addition to polarizing statements such as "All Japanese schoolgirls' panties are total art, since they are about the metabolism of human animals", and religious-theoretical positions on Meese's understanding of art: "Art is not a religion, but every religion is art ”. In the "Goslar - Saalmanifest de Large", a comprehensive version of the manifesto, he prophesies a. that the dictatorship of art will soon encompass everything.

"Generaltanz den Erzschiller" (2013)

For the 17th International Schiller Days , Meese was engaged for a commissioned production by the Nationaltheater Mannheim in coproduction with the Kunsthalle Mannheim . With “Generaltanz den Erzschiller” Meese delivered a solo program in the theater.

Rejection in Bayreuth (2016)

In 2016 Meese was to stage Richard Wagner's opera Parsifal at the 105th Bayreuth Festival (direction, set design, costumes). However, they separated from Meese in mid-November 2014 because his concept for the new staging of “Parsifal” could not be financed. Meese called the reasons advanced, it was about power, self-preservation and artistic intimidation in Bayreuth. In a "Parsifal Manifesto" Meese made clear his artistic claim as a legitimate interpreter of Richard Wagner. Andris Nelsons would have been the intended conductor and Klaus Florian Vogt as tenor .

plant

The Humpty Dumpty machine of the total future , 2010, installed in front of the Alte Nationalgalerie in Berlin

In his works, Meese tries in a sometimes aggressive way to address German mythology and “German madness”. His installations are provided with a vocabulary such as “Arch-religion blood hospital / arch mercenary Richard Wagner / private army harvest and seeds / weapon”. Here he also shows himself formally as an epigone of Anselm Kiefer .

“Everything is a toy. That’s all. Whether communism, national socialism, ancient Egypt or ancient Rome, nothing comes back. I can't hope for a revolution from the street either, humans can't do it. We should let something else set in motion, let the volcano of art erupt. "

Dictatorship of art

In connection with the increased stage presence, Meese proclaimed a “dictatorship of art”, particularly in interviews and manifestos and with visual and artistic means.

“The« dictatorship of art »is about the most loving rule of a thing, such as love, humility and respect, summarized and culminating in the rule of art. The omnipotence of art is not about the power of the artist man or about the power fantasies of self-actualizers and reality fanatics, but about the anti-nostalgic, alternative power of art, i.e. of the thing. Art asks the question of power, not the artist. "

With the dictatorship , he represents an elitist claim of art and distinguishes it decisively from all usefulness and pleasing. In 2012 he said in an art talk on the subject of contemporary art with a particular reference to documenta : “I suffer from the fact that any sculptures are sold to me as art, but are actually design. I suffer from being shown shitty painting that is really an illustration that has been pushed up. "

In doing so, he repeatedly emphasizes humility and presents himself as an “ant of art”, which anyway only exclaims “what will happen anyway without any alternative (...) In the dictatorship of art, things rule like light, breathing, jelly ( Ore), love or total beauty, such as B. Scarlett Johansson . "

Cooperations and representation

Meese worked with the painters Jörg Immendorff , Albert Oehlen , Tim Berresheim , Daniel Richter , Tal R and the composer Karlheinz Essl .

Meese's works have been purchased by museums such as the Center Pompidou in Paris , the Städel Museum in Frankfurt or the Abteiberg Museum in Mönchengladbach and are in public collections such as the Collection of Contemporary Art of the Federal Republic of Germany in Bonn, as well as in private collections in Germany ( Falckenberg Collection ), England ( Saatchi Gallery ) and Austria ( Essl Collection ).

reception

In the treatise “Discursive Cultural Studies”, Elize Bisanz describes the work as a phenomenon of “neurotic realism”. A naturalism, says Bisanz, "with a spectacular tendency to reproduce feelings of fear, depression and obsessive-compulsive phenomena".

According to Harald Falckenberg, head of the Phoenix Art cultural foundation in Hamburg and initiator of the Falckenberg Collection , Meese stands in a tradition of the “ grotesque ”, in which artists are “directed against the beautiful and the true and the good”. Fools have a purifying power in society, says Falckenberg, “because they question the right thing”.

According to the artist colleague Georg Baselitz , who also collects Meese's works, one has to “be skeptical about the truth of the work and not believe everything”. The late Jörg Immendorff, who, like Baselitz and Meese, was represented by the “Contemporary Fine Arts” gallery, said in an interview with Monopol magazine : “Jonathan Meese is very close to me in his radical thinking”, and: “I think you can only survive this profession if you are radical against yourself. "

Referring to the choice of topics and formal language, Werner Pelikan explains in a comparison of Jonathan Meese and Anselm Kiefer in his dissertation “Myths and Myth Formation in Art and Advertising” that although both artists use a consistent individual design language, the choice of topics does not differ that much is. A current debate on myths, Werner Pelikan describes, is particularly evident in the contrast between these two artists.

As in the case of Kiefer, who in 1969 with his actions 'occupations' in the “preferred southern travel countries of the Federal Germans saluting with the Nazi salute (e)”, the Hitler salute was provocatively displayed in many actions with Jonathan Meese . This has always been taken up, albeit uncritically, by some German daily newspapers.

In an interview with Tina Petersen and Angelika Leu-Barthel in the Deichtorhallen Hamburg in 2005, Meese stated: “If I give a Hitler salute on stage, then that's not my opinion. It's not about Jonathan Meese, it's about the matter, and I believe that it is going on in me. "

The journalist Georg Diez stated in an article entitled “Playing leaders - why German artists should keep their hands off Hitler” for Die Zeit in July 2007: “With Meese, however, it doesn't seem as if he wanted to ban Hitler; it looks more like an invocation. And now it is strange that at a time when the last contemporary witnesses are dying, and especially with a generation that seemed so free from this shadow, there is this stimulus to use the energy of evil and the forbidden. In his large exhibition in Frankfurt, Meese had glued Hitler's picture on the wall diagonally over his self-portrait; and on it he had written the word "Father". "

Meese's appearance with a Hitler salute in Kassel at the “megalomania in the art world” event organized by the news magazine Der Spiegel in the run-up to dOCUMENTA (13) led to a lawsuit in 2013 for violating Section 86aB of the Criminal Code . The Kassel District Court recognized that Meese's appearance at the event was part of the art sphere. It therefore decided in favor of artistic freedom and acquitted Meese: "It is clear that the accused does not identify with National Socialist symbols or Hitler, but rather mocked the whole thing," said the presiding judge. The acquittal became final after the public prosecutor withdrew the appeal it had initially lodged.

The public prosecutor's office in Munich closed another case on May 5, 2015 because of the use of symbols of unconstitutional organizations . Meese was reported in 2014 because he raised his hand several times in the Hitler salute on November 21st during the performance "Dictatorship of Art" at the Munich Literature Festival . The art magazine explains: “In Munich, Meese gave free rein to his anger over his retirement as Parsifal director at the Bayreuth Festival and said that there had been no strong performance on the Green Hill since 1945. 'The last strong production was Hitler.' ”Meese's lawyer Pascal Decker announced on May 5th that the appearance should be viewed as a performance and thus a work of art. The audience, who paid twelve euros for the event, would have known what was coming. It is the fourth trial against Meese that ends in an acquittal.

Exhibitions

Solo exhibitions (selection)

Participation in group exhibitions (selection)

Sound carrier

There are various performance / text / sound recordings by Jonathan Meese on LP and CD in small editions, including with Tim Berresheim , Mama Baer and Commissioner Hjuler , Maja Ratkje , Alfred Harth .

Fonts

literature

  • Jörg Scheller : Don't worry, he just wants to play! Or: How Jonathan Meese saves German idealism in postmodernism with his call for a dictatorship of art. In: Critical Reports . Issue 1, 2010, Volume 38, pp. 49–58.
  • Andreas Rosenfelder: How to really go nuts. Dictatorship for advanced students: the artist Jonathan Meese publishes his manifestos and writings at Suhrkamp. In: Welt am Sonntag . April 1, 2012, p. 50.

Web links

Commons : Jonathan Meese  - collection of images, videos and audio files

Individual evidence

  1. ↑ Deutschlandfunk: "I feel art German" - Jonathan Meese on Brexit , January 31, 2020
  2. ↑ a b c d e ARD Mediathek: broadcast on July 17, 2008. Jonathan Meese . From: Germany, your artists In: Business Week . ( Memento from August 2, 2008 in the Internet Archive )
  3. ↑ Radically even before brushing your teeth . In: Die Weltwoche , No. 26/2006
  4. ↑ Alain Bieber: In my armor . In: Artnet , May 19, 2006 (accessed December 10, 2008)
  5. ↑ The Arch Artist . ( Memento from February 18, 2010 in the Internet Archive ) In: Art - das Kunstmagazin , March 2004. ISSN  0173-2781 ( Accessed December 10, 2008.)
  6. ↑ Jonathan Meese, January 24 - March 7, 1999 ( Memento from May 6, 2009 in the Internet Archive ) Exhibition at the Neuer Aachener Kunstverein, accessed on December 10, 2008.
  7. ↑ A total of 77,000 art lovers visited the 2.5 million mark exhibition in the former Postfuhramt in three months . ( Memento of the original from May 6, 2009 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. art-magazin.de, 03/1999.  @1@ 2Template: Webachiv / IABot / www.art-magazin.de
  8. ↑ a b c A break in the world of feelings .  ( Page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. In: Art Magazin , 11/1989 (accessed December 12, 2008)@1@ 2Template: Toter Link / www.art-magazin.de  
  9. ^ Jan Verwoert: Berlin Biennale . ( Memento of May 6, 2009 in the Internet Archive ) In: Frieze Magazin , Issue 44, Jan-Feb 1999 (accessed on December 22, 2008)
  10. ^ Peter Richter: Free radical of the art business: Jonathan Meese . In: Frankfurter Allgemeine Zeitung , January 12, 2004.
  11. ↑ Petra Ahne: The Destroyer . In: Berliner Zeitung , January 29, 2004.
  12. ^ Gerhard Ahrens: Stiftung Schloss Neuhardenberg: "Zarathustra" - A theatrical excursion to Friedrich Nietzsche . In: Berliner Zeitung , June 30, 2006.
  13. ^ Art Compass 2006: Gerhard Richter claims the top spot . ( Memento from May 6, 2009 in the Internet Archive ) Capital.de, advance notification 23/2006 (accessed on December 14, 2008)
  14. ↑ Jonathan Meese designs the Atlantis exhibition for the Arp Museum , ddp, February 5, 2009.
  15. ↑ Press release ( Memento of the original from August 20, 2014 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. ( MS Word ; 233 kB) from the Arp Museum Bahnhof Rolandseck  @1@ 2Template: Webachiv / IABot / www.arpmuseum.org
  16. ^ Eva Beuys, Wenzel Beuys: ATLANTIS. Joseph Beuys, 3 actions 1964–1965 . Steidl-Verlag, Göttingen 2008.
  17. ↑ Jonathan Meese and the "Arch State of Atlantisis" . Deutsche Welle Kultur.21, on youtube.com
  18. ↑ Christoph Gehring: On the eve of the dictatorship of art - Jonathan Meese in the Arp Museum . (accessed August 20, 2009)
  19. ↑ Dannunzioz
  20. ↑ Video of the day - Jonathan Meese and Herbert Volkmann Deutsche Welle , on youtube.com
  21. ↑ Press release Mönchehaus Museum Goslar  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. (PDF; 117 kB) Deutsche Welle, accessed August 20, 2009@1@ 2Template: Toter Link / www.moenchehaus.de  
  22. ↑ Hall manifest  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. - Short version of the Goslar Manifesto dated July 17, 2009 (PDF; accessed August 20, 2009; 1.5 MB)@1@ 2Template: Toter Link / www.moenchehaus.de  
  23. ↑ Saalmanifest de Large  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. (PDF; 3.8 MB) Detailed version of the Goslar Manifesto dated July 17, 2009@1@ 2Template: Toter Link / www.moenchehaus.de  
  24. ↑ Jonathan Meese is to direct in Bayreuth in 2016. ( Memento of July 29, 2012 in the Internet Archive ) on: br.de , July 25, 2012 (accessed on July 25, 2012)
  25. ↑ Erz Wagner's bloodhound baby Jonathan Meese, November 21, 2014
  26. ↑ In Bayreuth, art is no longer about faz.net
  27. ↑ In the playroom . In: Die Zeit , No. 4/2008.
  28. ↑ Jonathan Meese: Selected writings on the dictatorship of art . Suhrkamp, ​​2012, ISBN 978-3-518-12656-1 . ( Brief description from the publisher)
  29. ↑ a b Barbara Basting: Art is the counterworld . ( Memento from May 5, 2009 in the Internet Archive ) In: Tages-Anzeiger , March 6, 2008.
  30. ↑ The Documenta? Thin whistle! Spiegel Online , June 5, 2012.
  31. ↑ Gerrit Gohlke: Jonathan Meeses artnet Manifesto in artnet.de, February 28, 2008 (accessed December 14, 2008)
  32. ↑ Elize Bisanz: Discursive Cultural Studies: Analytical Approaches to Symbolic Formations of Post-Western Identity in Germany . LIT Verlag, Berlin / Hamburg / Münster, 2005, ISBN 3-8258-8762-6 .
  33. ↑ Jörg Immendorff soul mate with Meese . In: Tagesspiegel.de , June 12, 2007 (accessed December 21, 2008)
  34. ↑ Werner Pelikan: Myths and Myth Formation in Art and Advertising - Basic Patterns of Communication . (PDF; 6.9 MB) Dissertation at the University of Kassel, Department of Art Studies, 2005.
  35. ↑ See: Morgan Falconer: "Jonathan Meese" ( Memento of the original from December 1, 2008 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. , Frieze Magazin, Issue 79, Nov-Dec 2003 "Not surprisingly, Anselm Kiefer's name has surfaced in discussion of Meese's historical work, it being necessary, in some degree at least, to justify his regularly uncompromising strategies. The fact that the two artists belong to different generations makes the comparison awkward, but either way it's interesting that the argument still seems worth having. Expressionism clearly continues to possess a radical force that bites at modern, rationalized order (just as it did at incipient fascism in the 1930s), and yet it also carries its own quotient of machismo; it's the blend of the two that makes it so potent. The problem with 'Freiheit' is that Meese wants none of this to matter: his is a Nietzschean model of artistic self-hood that changes shape at will and spits insolently at all sacred cows. The quest is to make the artist sovereign over all he surveys; the invocation in the show's title is hence typical. " @1@ 2Template: Webachiv / IABot / www.frieze.com
  36. ↑ Jonathan Meese: Mama Johnny with a Hitler salute . In: Spiegel Online , September 20, 2007.
    Christian Bartel: Jonathan Meese refuses the Hitler salute . In: Welt.de , June 7, 2007.
    Tobias Haberl: “Rebell Yell” and Hitler salute . Stern.de, April 16, 2007.
    Miriam Bandar: Hitler salute and underpants. In: Tagesspiegel.de , September 21, 2007.
    Cosima Lutz: Jonathan Meese, the “ant of art” . In: Berliner Morgenpost , February 11, 2008. (All online content accessed on December 14, 2008.)
  37. ↑ Tina Petersen, Angelika Leu-Barthel: jonathan meese on mama johnny . (PDF; 4.3 MB) March 21, 2005 (accessed December 14, 2008)
  38. ↑ Georg Diez: Führer play - Why German artists should keep their hands off Hitler . In: Die Zeit , No. 29/2007.
  39. ^ AG Kassel · Judgment of August 14, 2013 · Az. 1614 Js 30173/12 - 240 Cs. In: "OpenJur.de, the free legal database". Retrieved July 4, 2014 .
  40. ↑ Kassel District Court: acquittal for artist Jonathan Meese after a Hitler salute at Abendblatt.de, August 14, 2013 (accessed on August 14, 2013).
  41. ↑ Public prosecutor's office takes action against Meese's acquittal (accessed on 23 August 2013)
  42. ↑ Acquittal for Jonathan Meese after the Hitler salute legally binding In: Hamburger Abendblatt , October 9, 2013.
  43. ↑ a b Investigation against Meese stopped ( Memento from May 10, 2015 in the Internet Archive ) In: art - Das Kunstmagazin , May 5, 2015.
  44. ↑ Jonathan Meese, CAC Málaga from April 9 to June 20, 2010.
  45. ↑ Jonathan Meese "Jonathan Rockford (Don't call me back, please)" , De Appel, Amsterdam, from May 26 to August 19, 2007.
  46. ↑ Listing of the projects under Discogs - Jonathan Meese , also various reviews in writing
personal data
SURNAME Meese, Jonathan
ALTERNATIVE NAMES Meese, Jonathan Robin (full name)
BRIEF DESCRIPTION German performance artist, painter and sculptor
DATE OF BIRTH January 23, 1970
PLACE OF BIRTH Tokyo