BEUYS IS AGAIN A REGULAR AT DOCUMENTA
You are art. In any case, you can be if you take a statement by Joseph Beuys seriously, which was made in a 1983 TV talk by ORF. “I myself am the work of art at this moment. That means that it should come to the point that the human being himself becomes the work of art.” (Joseph Beuys) Can anyone be art, whether they are garbage collectors, nurses, doctors, engineers or farmers? Can everyone declare themselves and others to be art? This would be a sensation for the art world. A revolution. Even in the spirit of the expanded concept of art.
Man as Art in History
The thought is not entirely new. For Ben Vautier everything that could be signed was art. He also signed himself in the 1960s. The self-proclaimed "total artist" Timm Ulrichs declared himself the "first living work of art" in 1961. In 1971 "The Singing Sculpture" was the prelude to "Living Sculputure", a self-proclaimed art by Gilbert & George. Wolf Vostell already recognized during his lifetime: "Art is life, life is art." It is always about the really big issues, such as freedom, democracy, love and death. But are they only the people we consider a kind of "total work of art" anyway, such as Da Vinci, Goethe, Dylan, Brecht or Beuys? Do these people have to achieve a creative lifetime achievement in order to be recognized as art? Only applies: "Human + work = art"? Or is a “human being = art” possible? So is the Beuys quote a stroke of luck for art history, or would it rather be a quote for the art world that should be quickly forgotten?
The PRIVATE PLASTIK is always a social sculpture and changes the world
For Beuys, thoughts, words and works were a social sculpture when they shape the world. In this way, every human being could become an artist on a formed world. In this sense, plastic or sculpture was not an object on which you can put a hat, for example. The idea of man as art creates a PRIVATE SCULPTURE by shaping personal thoughts. This formed mind cannot not form society.
„“People can refuse to be art or ignore the questioning of it. He can feel, think do and leave what he wants. Man cannot not be art. This is a groundbreaking innovation to the more common axioms: Man cannot not decide what art is. And: Humans cannot don't create art."“
(Joblin)
Is Beuys' silence underestimated??
Why didn't Beuys publicly comment on these revolutionary ideas in his last years? Why didn't he develop this theory further? Is Beuys' silence underestimated? Perhaps the following quote from Beuys has something to do with the answer:
„“Most artists don't want a new understanding of Art that deals with everyone's work and everyone's problems. There are no new theories among artists, in the world of art itself. Not even among critics. Completely closed mention the galleries. They just take care of business.” (Joseph Beuys)“
Posthumous Guerrilla Vernissage
Beuys and other artists probably never focused on people in themselves, but rather on their actions as artists or their attitude towards works of art. A revolution never happened. Only artists were appointed to art. The human being itself was never the focus of consideration. However, this is the further development of the Joblin Factory, which sees itself as a representative of Beuys in our time and organizes posthumous Beuys exhibitions as guerrilla vernissages, e.g. at DOCUMENTA.
Joblin Factory, the further developers of the Beuys idea
The Joblin Factory has been dealing theoretically and artistically with the way people are viewed as art for years. With the exhibition "Every human being is art. Meat is art." the artists' collective has implemented this theme in visual form, especially with "Memento Multiples", so that the idea can be continued and artistically realised. Through a syncretism, the collective creates a new way of looking at reality that has added value for every human being. By recognizing a person as art, our mind is formed into PRIVATE PLASTIK. Meat plays a central role in this, since the presence of dead flesh also makes the presence of living flesh visible.
MEMENTO MULTIPLES
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Will the revolution now be postponed indefinitely?
No. You are art. You are the revolution. So maybe tomorrow when you get up and go to the bathroom, you'll see someone else in your mirror. Try it. Maybe you also realize that this plastic can change the world.
PLASTIC IS CHANGING THE WORLD
Can PLASTIK change the world? In our times, this art is a clear commitment to the free self-determination of man. The Joblin Factory calls their syncretism DISCURSIVE ART to emphasize the democratic core of art, which deals with deciding what and who is art? A human's choice as art is comparable to a political choice, for which the same principles apply:
Art Choice Principles
- Equality. The decision applies to all people in general. Regardless of gender, origin, income, denomination, profession, political or artistic conviction.
- Independence from the institutions. The decision takes place immediately. No art history, no market and no flood of networks make the decision for us as an intermediary who or what is art for us.
- Freedom of choice. We are free in our choice as our thoughts always have the potential to be free.
- Equalization. The choice is the same for us personally, even if the market, galleries and museums would have us believe otherwise. Our vote counts. For us, the success of art does not have to be measured by its reach. Art cannot be weighed in money.
- Secret. How secret we keep our choice of a human being as art is up to us. At the center is our formed spirit, our PRIVATE PLASTIK.
It's about a new way of looking at the world. It is a pleasure to see people as art. Why do you see a human being as art? The answer to this is as varied as life itself.
Art rights instead of fundamental rights
- Human Dignity: Human dignity as art is inviolable. It is to be respected and protected the obligation of all people.
- Freedom of action: Everyone has the freedom to create art being. It has the right to develop freely as art, too live, love and die.
- Equality: All people are art. No one may because of his gender, his descent, his Race, his language, his homeland and origin, his Faith, its artistic, religious or political views cannot be art.
- Freedom of Conscience: Freedom of belief, self as Seeing art is inviolable. Man is in this Faith is only committed to itself and can do this freely exercise
- Freedom of expression: Everyone has the right to others to see people as art and to put your opinion into words, free to express and distribute text and images.
Exhibition Proposal: "Jeder Mensch ist Kunst. Fleisch ist Kunst." (Every Human is Art. Flesh is Art.)
1.0 Introduction: Curatorial Vision
In an era saturated by the digital and the disembodied, the artist collective Joblin Factory issues a stark and necessary corrective: an exhibition that forces a visceral confrontation with the human condition by grounding it in the very flesh from which we are made. "Jeder Mensch ist Kunst. Fleisch ist Kunst." is a profound and provocative contemporary exploration of identity, materiality, and the definition of art itself, built upon the seminal post-war philosophies of Joseph Beuys and Wolf Vostell. This proposal details the exhibition's robust conceptual framework, its carefully curated four-chapter structure, and its unique, interactive approach to collapsing the traditional distance between the artwork and the audience.
The exhibition is built upon a compelling dual focus. It begins with the philosophical assertion that "Every Human is Art," a democratic ideal inherited from Beuys that elevates human existence to the status of a creative act. This is provocatively paired with the material exploration that "Flesh is Art," a visceral thesis investigated through works that utilize organic matter. Joblin Factory masterfully synthesizes these two powerful ideas, creating a dynamic tension between the cerebral and the carnal, the conceptual and the corporeal. To fully grasp the intervention Joblin Factory is making, we must first trace its intellectual lineage back to the foundational provocations of post-war German art.
2.0 Philosophical and Art-Historical Foundations
To fully appreciate the depth of Joblin Factory's project, it is essential to ground the exhibition in its established art-historical context. Far from being a fleeting provocation, the work is a deliberate and critical dialogue with some of the most influential artistic ideas of the late 20th century. This section unpacks the intellectual lineage of the exhibition, tracing its core concepts directly back to the revolutionary work of Joseph Beuys and his contemporaries, demonstrating how Joblin Factory both honors and extends this important legacy.
The conceptual evolution of the exhibition's title, "Jeder Mensch ist Kunst" (Every Human is Art), reveals a significant theoretical trajectory. The discourse begins with a foundational 1983 statement by Joseph Beuys:
"Ich selbst bin in diesem Augenblick das Kunstwerk. Das heißt, es soll doch dahin kommen, dass der Mensch selbst das Kunstwerk wird."
(I myself am the artwork at this moment. That is, it should get to the point where man himself becomes the artwork.)
This idea was later sharpened and clarified by his master student, Johannes Stüttgen, who made a crucial distinction:
"Also nicht: Jeder Mensch ist ein Künstler. Sondern jetzt heißt es: Jeder Mensch ist ein Kunstwerk."
(So not: Every person is an artist. But now it is: Every person is an artwork.)
This subtle but powerful shift—from artist to artwork—is central to the exhibition's thesis. It moves the focus from the act of creation to the state of being. The concept was further echoed by figures like Wolf Vostell, who declared "Jeder Mensch ist ein Kunstwerk," and Ben Vautier, who noted that by the 1960s, "jeder Mensch war Kunst, was man signieren konnte" (every person was art, something one could sign).
Joblin Factory engages with this formidable legacy not through simple repetition, but through active, critical investigation. As detailed in their accompanying publication, "Jeder Mensch ist Kunst. Du bist Kunst," the collective dissects these historical statements through a multi-faceted artistic practice. They do not take the phrase "Every Human is Art" as a given, but rather as a question to be explored through material, form, and direct audience engagement. This potent theoretical legacy is the launchpad from which Joblin Factory's material and photographic investigations take flight.
3.0 Exhibition Structure: A Multi-Chapter Investigation
The exhibition is organized into four distinct yet deeply interconnected chapters. This structure is designed to guide the visitor through a comprehensive exploration of the core themes from multiple perspectives. Each chapter employs different artistic media and strategies—from commercial multiples and organic sculpture to photography and conceptual series—creating a layered and cumulative experience. This curatorial approach allows for a rich investigation into the central propositions that "Every Human is Art" and "Flesh is Art."
3.1 Chapter 1: The Multiple & The Democratization of Art
This chapter directly engages with Beuys's concept of the "social sculpture" by transforming a section of the gallery into the "Jeder Mensch ist Kunst: Multiple Shop." This space is both a physical installation and a philosophical statement on the accessibility of art. The strategic use of "Multiples"—signed, affordable art objects presented as everyday goods—serves a crucial purpose. By offering items such as T-shirts, bags, mirrors, and home goods, the exhibition radically deconstructs the perceived elitism and commercial exclusivity of the traditional art market. This approach democratizes the core message, making it tangible and accessible to a wider, younger public and allowing the exhibition's ideas to permeate the visitor's daily life.
Representative "Multiple" products include:
• Jeder Mensch ist Kunst T-Shirts
• Memento Taschenspiegel (Memento Pocket Mirror)
• Fleisch-Taschen (Flesh Bags)
• Bulimie Fleisch-Uhr (Bulimia Flesh Clock)
3.2 Chapter 2: The Original Works of Jack Joblin – "Lachskunst"
At the heart of the exhibition lies the primary material investigation of the "Fleisch ist Kunst" theme. This chapter is dedicated to the original works of Jack Joblin, which are predominantly categorized as "Lachskunst" (Salmon Art). These sculptures and assemblages are created using the physical substance of salmon flesh, which Joblin meticulously forms and preserves. This radical choice of material is central to the work's conceptual power. By using salmon—a form of flesh—to recreate everyday objects, cultural artifacts, and religious symbols, Joblin forces a visceral and unforgettable confrontation with themes of life, decay, consumption, mortality, and transformation. The familiar is rendered alien, prompting a profound re-evaluation of the objects and ideas we take for granted.
Key works demonstrating the scope of this practice include:
• Flesh-Phone / Fleisch-O-Phon: This sculpture transforms a modern tool of communication into an organic, decaying object. The work radically deconstructs our faith in technology by exposing its material opposite. The undeniable decay of the flesh becomes a powerful metaphor for the ephemerality of digital communication, problematizing the stability of our networks by grounding them in a primal, biological reality.
• Last Supper / Das letzte Abendmahl: In this ambitious assemblage, Joblin offers a materialist reclaiming of the Eucharist. By rendering the iconic religious scene in salmon flesh, the work functions as a grotesque parody of transubstantiation, stripping the event of its sanitized art-historical veneer and forcing a confrontation between symbolic and literal flesh. It explores the carnal reality of sacrifice, sacrament, and the physical body as a vessel for spiritual meaning.
• Cross / Kreuz: The construction of a primary symbol of Western religion from salmon flesh is a deeply provocative act. The work establishes an irresolvable tension between the Christian promise of resurrection—the transcendence of the flesh—and the artwork’s own undeniable, ongoing decay. Here, the triumph of the flesh is absolute, questioning the separation of sacred and profane and highlighting the mortal, corruptible core of belief systems.
3.3 Chapter 3: The Diverse Series of Bob Joblin
This chapter highlights the conceptual breadth of the Joblin Factory project through the diverse artistic output of Bob Joblin, which encompasses painting, photography, conceptual books, and digital art. This section functions as a critical dialectic, creating a necessary tension between the abstract and the material. The works are organized into two complementary series that, together, enrich the exhibition's central argument.
The "Searching Series" ("Punch Pictures," "Dylan in Art History") operates as an investigation into the conceptual nature of art and identity. These works explore themes of presence and absence, the ghost in the machine, and the disembodied nature of historical and cultural icons. They pose questions about what constitutes an artwork when the physical object is elusive or secondary. In direct counterpoint, the "Flesh Series" ("Fathers Salmon on the Roof," "Trap," "Fish-Meat-Balls") provides the necessary grounding for these abstract inquiries. This body of work insists on the visceral, physical reality of existence, continually returning to the carnal as the inescapable anchor for all conceptual thought. This pairing demonstrates that for Joblin Factory, any search for meaning must ultimately reckon with the flesh.
3.4 Chapter 4: Joblin Factory Photographic Works – The Juxtaposition of Flesh
The exhibition's final chapter presents its most direct and confrontational photographic statement. The works in this section are organized around the powerful theme of "Totes Fleisch vs. lebendiges Fleisch" (Dead Meat vs. Living Flesh). Through carefully composed and often unsettling imagery, these photographs create a stark dialectic between the organic and the inorganic, the living body and consumed meat, the subject and the object. This artistic strategy of juxtaposition is designed to be intentionally jarring, prompting viewers to reflect on their own physicality, their place in the food chain, and the fragile boundary between life and death. Titles such as "Fish-Meat," "Ecce Homo," and "Carnal Lust" underscore the work's unflinching exploration of these fundamental themes. This confrontational chapter serves as the final catalyst, priming the viewer for the interactive turn where they themselves become the subject of the gaze.
4.0 The Viewer as Artwork: Interactivity and Self-Reflection
A central and defining goal of this exhibition is to actively collapse the distance between the art and the viewer. The experience is designed to move beyond passive observation and guide visitors toward becoming active participants in the artistic process, thereby fulfilling the ultimate promise of the exhibition's title: "Du bist Kunst" (You are Art). This section details the specific artistic mechanisms and philosophical frameworks embedded within the gallery space to facilitate this profound shift in awareness.
The primary artistic device used to achieve this is the mirror ("Spiegel"). Throughout the exhibition, mirrors are employed not merely as reflective surfaces but as potent tools for self-awareness and consciousness—a "Metapher für Bewusstsein." The act of looking at one's own reflection within the context of the gallery is reframed as an act of seeing oneself as an artwork. Specific mirror-based pieces are installed to guide this experience, including a large, ornate framed mirror inscribed with the text "JEDER MENSCH IST KUNST" and the "Milchglas zum Einstieg," a frosted mirror that offers a blurred, indistinct reflection, encouraging the viewer to look closer and more intentionally. The psychological effect is to interrupt habitual self-perception and invite a new, more considered form of self-contemplation.
This experience is further codified and reinforced by the inclusion of the "Kunstrechte" (Art Rights), a textual component presented within the exhibition. These five points serve as a manifesto that articulates the exhibition's philosophical stance and explicitly empowers the viewer. They include statements such as:
1. Die Würde des Menschen als Kunst ist unantastbar. (The dignity of man as art is inviolable.)
2. Jeder Mensch hat die Freiheit Kunst zu sein. (Every person has the freedom to be art.)
3. Jeder Mensch hat das Recht andere Menschen als Kunst zu sehen und seine Meinung in Wort, Schrift und Bild frei zu äußern und zu verbreiten. (Every person has the right to see other people as art and to freely express and disseminate their opinion in word, writing, and image.)
By declaring these rights, the exhibition provides a conceptual framework that validates the visitor's presence as an integral part of the artwork, seamlessly linking the interactive and philosophical elements into a cohesive and empowering experience.
5.0 The "Topp Shop Galerie": A New Exhibition Model
Integral to the exhibition's overall concept is the "Topp Shop Galerie," an innovative model that reimagines the traditional gallery gift shop. This space is not an afterthought but a fully curated "Laden-Ausstellung" (Shop-Exhibition) that functions as a crucial extension of the show's conceptual and social goals. It is a dynamic environment designed to break down barriers and extend the exhibition's message beyond the gallery walls.
The strategic goals of this integrated model are threefold:
• Target Audience: The shop is explicitly designed to attract young and diverse visitors who may be less interested in or intimidated by traditional, elitist art experiences. By presenting art within a familiar retail context, it creates a welcoming and accessible entry point for engagement.
• Conceptual Reinforcement: The act of purchasing a "Multiple" is reframed as a meaningful artistic gesture. Each item functions as a memento, a tangible reminder that extends the core idea of "Jeder Mensch ist Kunst. Fleisch ist Kunst" into the visitor's home and daily life, ensuring the exhibition's impact endures long after the visit.
• Philanthropic Purpose: The shop's commercial activity is tied to a clear social purpose. The "TOPP" concept is driven by a commitment to raise funds and awareness for the charity project "Mandi: Tibetischen Flüchtlingskindern Schulbildung ermöglichen" (Mandi: Enabling education for Tibetan refugee children).
This integrated shop concept transforms the exhibition into a dynamic and living example of social practice art, where aesthetic inquiry, public engagement, and social responsibility are inextricably linked.
6.0 Conclusion: Synthesis and Significance
"Jeder Mensch ist Kunst. Fleisch ist Kunst." is a timely, provocative, and intellectually rigorous exhibition that will challenge and captivate its audience. It operates on multiple levels, weaving together art history, material experimentation, and direct audience participation into a single, cohesive experience.
The core strengths of this proposal lie in its clear and compelling vision. The exhibition is built upon a strong art-historical grounding in the revolutionary legacy of Joseph Beuys, ensuring its conceptual weight and relevance. This foundation provides the stage for the challenging and unforgettable artworks of Joblin Factory, whose unflinching exploration of flesh as a medium pushes the boundaries of contemporary sculpture and photography. Finally, its innovative and inclusive exhibition model, centered on interactivity and the unique "Topp Shop Galerie," is designed to actively engage a broad, contemporary audience, making complex artistic ideas both accessible and meaningful. This exhibition will not merely generate dialogue; it will force a necessary and timely confrontation with our own materiality and the very definition of art in the 21st century, providing a memorable and transformative experience for all who visit.
Every Human is Art: Understanding the "Fleisch ist Kunst" Project Introduction: A Provocative Welcome "Jeder Mensch ist Kunst. Fleisch ist Kunst." (Every Human is Art. Meat is Art.) is a conceptual project that radically extends Joseph Beuys's theory of social sculpture into the visceral realm of biology and commerce. This document will deconstruct the project's core tenets, tracing the intellectual lineage from Beuys's foundational philosophy to the Joblin artists' provocative confrontation with our own materiality. It is designed to guide a curious learner through the central themes of this unique exhibition, exploring the tension between the human as a sublime concept and as a biological reality.
1. The Seed of the Idea: From Artist to Artwork 1.1. Joseph Beuys's Original Statement The project's central philosophy originates with the influential 20th-century German artist Joseph Beuys. He famously declared that the human being itself, not just the objects a human creates, could be the actual artwork. This revolutionary idea is captured in his response to a viewer's call-in question during a 1983 ORF-TV talk show called "Club 2": „Ich selbst bin in diesem Augenblick das Kunstwerk. Das heißt, es soll doch dahin kommen, dass der Mensch selbst das Kunstwerk wird.“ "I myself am the artwork in this moment. That is, it should come to the point that man himself becomes the artwork." With this declaration, Beuys fundamentally shifted the focus of art. He proposed that the human being should be seen not merely as the creator of art, but as the very subject and substance of art itself. 1.2. The Critical Evolution This powerful idea was subsequently refined and clarified by others in the art world. Johannes Stüttgen, a master student of Beuys, offered a crucial correction to a common misinterpretation of Beuys's philosophy: „Also nicht: Jeder Mensch ist ein Künstler. Sondern jetzt heißt es: Jeder Mensch ist ein Kunstwerk.“ "So not: Every human is an artist. But now it is: Every human is a work of art." This clarification is key: the focus isn't on every person's ability to create art, but on the inherent status of every person as a work of art. Other prominent artists also explored this theme, establishing it as a significant thread in modern art history: • Timm Ulrichs, who predated many others by declaring himself the "first living artwork" as early as 1961. • Ben Vautier, who began signing everything in the 1960s, including himself. • Wolf Vostell • Gilbert & George, with their well-known concept of "Living Sculpture." This conceptual shift laid the groundwork for contemporary artists to explore the idea of 'human as artwork' in even more visceral and challenging ways.
2. The Artists and Their Interpretations Introduction to the Joblin Collective The "Jeder Mensch ist Kunst" project is driven by the Joblin collective, which includes Jack Joblin, Bob Joblin, and the Joblin Factory. They take the foundational idea from Beuys and extend it with a stark, biological addition: "Fleisch ist Kunst" (Meat is Art). This confronts the viewer directly with the physical, organic, and often unsettling materiality of human existence as art. Comparing the Artistic Approaches While united by the core theme, each artist and entity within the collective explores it through distinct methods and media. Artist/Entity Primary Medium/Focus Core Artistic Question Jack Joblin Original works, often using salmon to cover everyday objects ("Lachskunstgegenständen"). What happens when the organic and visceral (flesh) overtakes the mundane and manufactured? Bob Joblin Diverse series combining painting, photography, digital art, and automatons to explore themes of production and decay in series like 'Fathers Salmon on the Roof' and 'Decay', which document the physical decomposition of the art materials. How can different artistic forms capture the processes of life, consumption, and decomposition? Joblin Factory Conceptual photo works juxtaposing dead flesh with living flesh, and its "Multiple Shop" concept. How does the confrontation between living and dead matter change our perception of value, art, and self? While their methods differ, all three approaches converge on a central strategy to bring these complex ideas directly to the public: the art shop.
3. Art for All: The "Multiple Shop Galerie" Concept A central component of the Joblin Factory's project is the "Topp Shop Galerie," an exhibition deliberately designed to look and function like a retail store. This unconventional format serves several primary goals. 1. Accessibility and Audience The shop format is designed to be inviting and approachable, aiming to attract a younger audience and individuals who might feel intimidated by the often elitist atmosphere of traditional art galleries. By presenting art in a familiar consumer setting, the project breaks down barriers and encourages broader engagement. 2. Democratizing Art (Multiples) The gallery sells "Multiples"—artworks produced in affordable editions. These are not priceless, one-of-a-kind originals but everyday items like T-shirts, bags, and clocks. This strategy makes owning a piece of the artistic concept financially accessible to a wider public and allows the core message, "Jeder Mensch ist Kunst. Fleisch ist Kunst," to spread beyond the gallery walls and into daily life. 3. Art as Social Action The commercial aspect of the project is reframed as a form of social engagement. The marketing of the "Topp Shop" serves a good cause, as the artists contribute a portion of the proceeds to financially support the Mandi aid project, which funds the education of Tibetan refugee children. This adds a critical ethical dimension to the act of buying and owning the art. 4. Provocation and Awareness Placing challenging artistic themes onto common consumer goods acts as a form of provocation. This encourages a new kind of awareness in the owner and viewer, prompted by the art they now wear, carry, or hang in their homes. By transforming the gallery into a store, the project doesn't just sell objects; it distributes a radical idea, inviting everyone to participate.
4. Conclusion: The Mirror on the Wall The "Jeder Mensch ist Kunst. Fleisch ist Kunst." project traces a powerful journey from Joseph Beuys's philosophical concept to the Joblin collective's visceral, commercially accessible interpretation. Its ultimate goal is not merely to be viewed, but to force a moment of direct confrontation through a central artistic device: the "Spiegelschre" (Mirror Writing). Mirrors are a key medium in the exhibition, literally forcing the viewer into a state of "Selbstwahrnehmung" (self-perception). By looking at a piece that states "Every Human is Art," the viewer's own reflection makes them the subject. The project extends this confrontation beyond the gallery, with mirrors hung in cities and even placed on park benches. This strategy compels the individual to see themselves—their own body, their own biology, their own "flesh"—as an inherent and undeniable work of art. The exhibition leaves its audience with this one central, empowering message: Every human is art.