In the 1960s we wanted to remove the reflection in order to fuse art and reality. The art was to be the strength and the method that could further develop our society and our lives; reality became the art’s material.
This idea is still part of the new art, but at the same time, the art as an independent method of realisation, has to have its own laboratory. This is what we call the "work".
In contemporary art, the term "work" covers a large manifold area where the art develops new design principles independent of the ever-present ruling conditions. These design principles can work retroactively on the reality from which they originated.
Since the 1960s, I have completed a number of action, objects, installations, sculptures and public works which must be understood in this context.
Through this period I worked on a number of forms and models of realisation. One of them is the term ATYPIA, which I have used since 2004 for a number of activities, including several sculptures.
Up to and for part of the 1960s the great classic Utopias from the 17th and 18th centuries’ liberalism, capitalism, communism, fascism and derivatives of these, were still the starting point for a cultural-Darwinist faith in development. Followers imagine that one of these absolute utopias will lead to a kind of earthly paradise.
Today, we should have understood that the world is not so simply