Revista Umělec 1997/4 >> Art Attacked Lista de todas las ediciones
Art Attacked
Revista Umělec
Año 1997, 4
2,50 EUR
Enviar la edición impresa:
Suscripción de orden

Art Attacked

Revista Umělec 1997/4


Tomáš Lahoda | new media | en cs

It appears that not only dadaist and modernist positions in general were doing things head on as similar tendencies now emerge in contemporary art. On May 9, 1994, an unknown artist Mark Bridger attacked the work of well-known Damien Hirst in Serpentine Gallery where he was exhibiting his glass containers with bodies of animals cut in half and soaked in formaldehyde. Bridger later described the moment of spilling uncertain volume of ink into the tank as a moment of pure inspiration. He completely destroyed Hirst’s Away From the Flock that way but at the same time created a new piece called Black Sheep by Mark Bridger. Bridger wasn’t in opposition to Hirst’s work, on the contrary he was hoping that Hirst would accept his intervetion as it was based on the same art category as Hirst’s work. His act therefore was not iconoclasm but a dialogue, a statement and an artistic gesture which parasites on another work of art yet at the same time pays certain tribute to it. Damien Hirst himself was a parasite on certain kind of abstract painting in his „point paintings“. As opposed to creating something completely new and original (modernism), the artist-hooligan uses aggressive dialogue with already existing text (post-modernism). Criticism of an institution, deconstruction, citation and appropriation combined with unobscured love and respect to art stands behind motivation of such acts from recent history. For example, well-known and successful New York gallerist Tony Shafrazi attacked Picasso’s Guernica shown at the Museum of Modern Art in 1974 spraying Kill Lies All in red letters on it. He then said about his act: „I wanted to bring art closer to presence, liberate it from art history and give it life.“
And how did Mark Bridger end up in the end? Unfortunately, it turned out that Hirst was not so tolerant as Bridger had hoped for. Away From the Flock was restored to its original appearance and Bridger was sentenced to two years on probation. Didn’t Bridger have the right to accuse Hirst of destroying his Black Sheep then?
Most recently, Russian artist Oleg Kulik crawls naked on all four with a chain attached to his neck like a dog in personally defined territory marked by a sign „Danger“. At one point he literally gets off the leash and bites one of the viewers watching his act as the viewer got too close. In this project entitled Dog House, Kulik refused human speech and communication as a process which is either unfruitful or aggressive.
In February this year, another Russian artist Alexander Brener was called to court in Amsterdam for his artistic act. On January 4, 1997, he sprayed a green dollar sign on Kazimir Malevich’s White Cross On White Background. He was sentenced to ten moths with five month probation and he has to pay 15.000 Dutch guilders.
A group of ten young Danish artists were exhibiting under a group name L.E.F.K.T.D.K. (Life is too short for Danish art) in Christian Dam Gallery in Copenhagen in March. The concept of the exbition was based on destruction of art works made by other artists who were asked to donate their pieces for destruction. Piles of the remains were then exhibited as a new collective work of art.

The Letter of Support
This is a letter of support for Alexander Brener, an artist who has to stand in front of Dutch court on charges of vagabondage and destruction of the Malevich painting White Suprematism 1922 - 1927.
We met Alexander in 1994 in Moscow where he was known as a poet of controversial Russian-Jewish identity. When we met with him, he had just re-emigrated from Israel where he left with his family a few years before. He explained his return to Moscow as a gesture of his disillusionment with any existing political system, finding Russia after the collaps of socialism an appropriate place to make an artistic statement of this disillusionment. Our common language - which resulted in a few joint projects, including Interpol and Transnacionala in 1996 - is based on the belief that the contemporary art situation is highly politicized in the sense that economically stronger countries control and abuse the system of values we inherited from the tradition of contemporary art of this century as a common spiritual good. It is therefore necessary and legitimate for any artist to question the position and mechanisms of implementation of an individual art work in a system of art which refuses to be just a toy of markets and ideologies.
To satisfy this necessity, Brener transposed his poetic statement from literature to the direct physical language of actions-performances. At the beginning of 1994, he did an action in the Fine Art Museum (Pushkinskij Musei) in Moscow where he stood in front of one of van Gogh’s paintings and excremented in his pants while repeating: „Vincent, Vincent“. He described this action as a dialogue with the beginnings of modernism where „excrement in pants“ had a double meaning - both of great pleasure caused by the work of art and the notion of excrement as a symbolic materialization of the monolithic ideology that van Gogh was placed in as its founder...
As Alexander stated during his visit in Ljubljana (in October, 1995), he doesn’t believe in a political democracy but he does believe in a democratic art - that is, an art of individuality fighting for mental and spiritual freedom and moral progress. Political democracy is impossible because it demands total responsibility of every member of the society. Therefore, art is a good tool which should be used for democratic self-development. For Brener, the majority of Russian art is not democratic because it derives from a very narrow circle of Russian intelligentsia. There are some exceptions such as Tolstoy, Mayakovsky and Khlebnikov. He distinguishes avant-garde art from modernism by the difference in their impact. Avant-garde art has an ethical impact which is completely different from the formal impact of modernism...
For Brener, the avant-garde artist is a man who is able to pledge all his being against Western civilization. As Western civilization is a violent appropriation of all other worlds, for him the language of affect (as defined by Antonin Artaud) is the only weapon against the unquestionable power of Western societies. In his actions, he articulates this language of emotions through three basic feelings and principles: sexuality, aggression and impotency. We described some previous works and actions, together with Brener’s philosophical and ethical position in relation to the question of art, in order to prove that his latest action - in which he sprayed green paint in the shape of a dollar sign on the Malevich painting White Suprematism 1922 - 1927, a white cross on a white background - is an act of consistent artistic language of expression and therefore cannot be interpreted as an act of a lunatic or a criminal act...
We believe that Alexander Brener didn’t destroy anything that Kazimir Malevich contributed to mankind. On the contrary, he artistically enlightened the misunderstood as to what Malevich actually contributed to humanity by reflecting the act of reification where so-called cultural world is showing respect to his dead object while at the same time disrespect to the genuine, living culture he comes from. The force behind this misunderstanding is symbolized in the sign he sprayed over the work. ...
Eda Cufer, Ljubljana, February 11, 1997
Goran Dordevic
IRWIN: Dusan Mandic, Miran Mohar, Andrej Savski, Roman Uranjek, Borut Vogelnik
(Full text is available at URL
(pages15 through 19)


Actualmente no hay comentarios

Agregar nuevo comentario

Artículos recomendados

Nick Land – An Experiment in Inhumanism Nick Land – An Experiment in Inhumanism
Nick Land was a British philosopher but is no longer, though he is not dead. The almost neurotic fervor with which he scratched at the scars of reality has seduced more than a few promising academics onto the path of art that offends in its originality. The texts that he has left behind are reliably revolting and boring, and impel us to castrate their categorization as “mere” literature.
No Future For Censorship No Future For Censorship
Author dreaming of a future without censorship we have never got rid of. It seems, that people don‘t care while it grows stronger again.
African Vampires in the Age of Globalisation African Vampires in the Age of Globalisation
"In Cameroon, rumours abound of zombie-labourers toiling on invisible plantations in an obscure night-time economy."
Acts, Misdemeanors and the Thoughts of the Persian King Medimon Acts, Misdemeanors and the Thoughts of the Persian King Medimon
There is nothing that has not already been done in culture, squeezed or pulled inside out, blown to dust. Classical culture today is made by scum. Those working in the fine arts who make paintings are called artists. Otherwise in the backwaters and marshlands the rest of the artists are lost in search of new and ever surprising methods. They must be earthbound, casual, political, managerial,…
27.07.2014 19:39
¿A dónde ir ahora?
S.d.Ch, Solitarios y Cultura Periférica   (una generación nacida alrededor de 1970)
S.d.Ch, Solitarios y Cultura Periférica (una generación nacida alrededor de 1970)
Josef Jindrák
¿Quién es S.d.Ch? Una persona de muchos intereses –activa en varios campos- la literatura, el teatro, conocida por sus cómics y sus collages en los campos del arte. Un poeta y dramaturgo principalmente. Un solitario por naturaleza y determinación, su trabajo no se encajona en las corrientes actuales. Siempre antepone la enunciación personal, incluso cuando su estructura interna puede volverse…
Leer más...
Revista THC: Revisitando el Condenado Pasado
Revista THC: Revisitando el Condenado Pasado
Ivan Mečl
¡Somos el quinto partido político global! Pítr Dragota ys Viki Shock, Fragmenty geniality / Fragmentos de carisma, mayo y junio de 1997. Cuando Viki llegó de visita, fue solamente para mostrarme algunos dibujos y collages. Sólo como un pensamiento tardío me mostró la publicación checa de finales de los noventa, THC Review. Cuando vio cuánto me fascinaba, le entró el pánico e insistió que…
Leer más...
To hen kai pán (Jindřich Chalupecký Prize Laureate 1998 Jiří Černický)
To hen kai pán (Jindřich Chalupecký Prize Laureate 1998 Jiří Černický)
Leer más...
Dolores de parto
¿A quién le asusta la maternidad?
¿A quién le asusta la maternidad?
Zuzana Štefková
La pluralización de las definiciones de “madre“ es, a un tiempo, un lugar de represión recrudecida y de liberación potencial. (1) Carol Stabile Corría el año 2003 y una mujer en avanzado estado de embarazo estaba de pie al borde del camino en el matorral del bosque Lapák de Kladno. En el marco de la exposición Artistas en el bosque, los transeúntes podían vislumbrar el destello de su vientre…
Leer más...
Libros, video, ediciones y obras de arte que podrían interesarle Ir a la tienda virtual
2003, 21.5 x 28cm, Colour Drawing
Más información...
334,80 EUR
412 USD
Feast, sketch - drawing, 29,5 x 20,5 cm
Más información...
340 EUR
418 USD
Más información...
6,50 EUR
On Top, 2002, coloured photocopy, 29,7 x 21 cm
Más información...
260 EUR
320 USD


Divus and its services

Studio Divus designs and develops your ideas for projects, presentations or entire PR packages using all sorts of visual means and media. We offer our clients complete solutions as well as all the individual steps along the way. In our work we bring together the most up-to-date and classic technologies, enabling us to produce a wide range of products. But we do more than just prints and digital projects, ad materials, posters, catalogues, books, the production of screen and space presentations in interiors or exteriors, digital work and image publication on the internet; we also produce digital films—including the editing, sound and 3-D effects—and we use this technology for web pages and for company presentations. We specialize in ...

Cita del día El editor no se responsabiliza por los estados físicos o mentales que puedan generarse después de leer la cita

Enlightenment is always late.
Contacto e información del visitante Contactos de la redacción

Former papermill area
Nádražní 101
252 46 Vrané nad Vltavou


Gallery and Cafe open from Wednesday to Sunday between 11am to 10pm
and on appointment at, +420 606 606 425


Divus Perla
Gábina Náhlíková,, +420 604 254 994

Divus Publishing
Ivan Mečl,, +420 602 269 888

Studio Divus
Helena Jirákový,

Magazine Umělec
Palo Fabuš,

Cafe Perla
Lucie Palečková,, +420 606 606 425

Arch 8, Resolution Way, Deptford
London SE8 4NT, United Kingdom, +44 (0) 7526 902 082


Open Wednesday to Saturday 12 – 6 pm.


Potsdamer Str. 161, 10783 Berlin, Germany
, +49 (0)151 2908 8150


Open Wednesday to Sunday between 1 pm and 7 pm





Divus We Are Rising National Gallery For You! Go to Vrané nad Vltavou, Nádražní 101.