Palazzo shelves

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Palazzo Regale is an installation by the German artist Joseph Beuys (1921–1986), which he set up in December 1985 for a temporary exhibition at the Museo di Capodimonte in Naples. The exhibition opened a month before his death on December 23, 1985 . The installation was purchased in 1991 by the Kunstsammlung Nordrhein-Westfalen in Düsseldorf .

The work

Beuys arranged two brass showcases in a large marble hall in the palace, which he aligned with one another. In addition, he provided the room with seven rectangular brass panels, gleaming with fingerprints, which he distributed asymmetrically on the walls. Wenzel Beuys painted the showcases and brass panels with dammar varnish and dissolved gold dust, so that they looked like blind mirrors.

In the front showcase there is a cast iron head from the work Tram Stop in Venice from 1976, as well as a lynx coat, lined with blue silk, which Beuys used in his performance Titus Andronicus / Iphigenie (1969) as part of the "experimenta 3" wore in Frankfurt am Main; In addition, this showcase contains two concert basins and the housing of a triton horn (see also Triton ), which can also be used as a wind instrument. Beuys used the snail as a bugle in October 1971 to celebrate the success of his fight against the numerus clausus after filling the secretariat of the Düsseldorf Art Academy . The head probably originally goes back to a work that his student Beatrix Sassen had made in 1963. The second showcase, which was placed near the wall of the room, contains a gray-green backpack with a felt wedge in the side pocket, three electrical clips with copper wires, two large needles, as well as two copper walking sticks, three dried-up slices of ham and a large piece Bacon.

The objects gathered in the assemblages refer to his oeuvre as a whole and, beyond their subject matter, can be read as a retrospective staging of the artist's own ideas and aesthetic activities.

reception

“Palazzo Regale” is the last great work by Joseph Beuys. Regale means "due to the king". " Regalien " is the name for the royal sovereignty since the 11th century. Many viewers understood the work as a résumé or testament by the artist.

Beuys said in his last interview with the journalist Michele Bonuomo in December 1985: “I am not interested in power in the institutional sense or, even worse, a monarchical concept, that is to say something that has to do with the 'Palazzo Regale'. has to do with the idea of ​​state rule. The palace that we first conquer and then have to inhabit with dignity is the head of man, our head. The idea of ​​the Palazzo Regale was contained in a great many of my previous works […] in this work the symbolic component is very strong, because I wanted to emphasize two elements that are always present in my work and that I believe are in every human act should contain both the solemnity of the self-determination of one's own life and one's own gestures and the modesty of our actions and our work in every moment. But the whole thing is expressed without fuss, yes in a very quiet way. "

literature

  • Kunstsammlung Nordrhein-Westfalen (Hrsg.): Insights. The 20th Century in the North Rhine-Westphalia Art Collection, Düsseldorf , Hatje Kantz Verlag, Düsseldorf 2000; ISBN 3-7757-0853-7
  • Uwe M. Schneede : The history of art in the 20th century . CH Beck: Munich, 2001
  • KulturStiftung der Länder (Ed.): Kunstsammlung Nordrhein-Westfalen, Joseph Beuys, Palazzo Regale , Berlin / Düsseldorf 1992 (PATRIMONIA 42)

Web links

Individual evidence

  1. ↑ KulturStiftung der Länder (Ed.): Kunstsammlung Nordrhein-Westfalen, Joseph Beuys, Palazzo Regale , Berlin / Düsseldorf 1992 (PATRIMONIA 42), p. 66
  2. ↑ OLG Düsseldorf, judgment of October 21, 2003, Az. I-20 U 170/02 . Website in the database openjur.de , accessed on December 30, 2015
  3. ↑ Uwe M. Schneede: The history of art in the 20th century . CH Beck: Munich, 2001, p. 245
  4. ↑ Stachelhaus: Joseph Beuys , p. 202 f.