BERLIN, GERMANY ~ Jonathan Meese feels compelled to announce a harnessed propaganda proclamation in his studio in Berlin, Germany, on October 28, 2018.
Image above: A propaganda work from 2018 © PHOTOGRAPHY JAN BAUER . NET / COURTESY JONATHAN MEESE . COM
It seems particularly necessary to him these days to once again proclaim the power factor ART. So not only the content is remarkable, but also the time of his eruption. Obviously he has the impression that certain cultural circles aim to make him and his work perceptible only “from a completely different (harmless) side”. The Art German always gets to hear this formulation when someone, out of fear, tries to consciously ignore central work concepts, such as the DIKTATUR DER KUNST, which demands the most radical social changes, in order not to fall out of favour with political officials and religious dignitaries. Finally Jonathan Meese as an “ideology hunter” attacks all political and religious ideology demons equally and demands their immediate abdication. In order to keep such ideas as small as possible~ or even to keep them away, one likes to categorize the most ineligible, for example, as DADAist, although he completely distances himself from these stutterers, since they all have become either political, religious or esoteric followers and thus committed treason against the K.U.N.S.T..
Jonathan Meese also presents his proclamation in a particularly masculine way, since other forces try to call up as exclusively as possible “the feminine” in his œuvre, in order to soften in this way his claims to power of the DICTURE OF ART, often put forward in a manly hard, combative attitude.
“The Gesamtkunstwerk Germany must be created,” Meese demands resolutely. Only the DIKTATUR DER KUNST is the future and only ideologieless social order for Germany. “If one still wants Germany at all, then it is about the most total elimination of all ideologies,” fires the lone fighter fervently. “The Germany of the future is the first, most radical, most total state without ideology!
Such solitary statements are hardly capable of winning a majority in today’s Germany, i.e. more than dangerous for the ideological establishment.
It is better to peace up such a troublemaker by splitting up his total work of art and only picking out such positions, that can’t jeopardize the current power structure. These words do not only mean disaster for cultural state functionaries, but also for certain self-realizers in the Art scene fear for their existence when they see a man of such format with the most uncompromising claim to power as somehow networkable and socially acceptable to cultivate through.
This is exactly why Jonathan Meese manifests himself without fear of any consequence in his own way, that he will never be integrable. Whoever tries to make his art-stradical demands for power acceptable to ideological rabbit hearts through certain phthalates will fail miserably. An Erz~Odysseusparsifalmeese will resist all cultural circles and political sirens as hermetically as ever.
Jonathan Meese makes it clear: “The wanderings of the Meese are always the projections of all those ideologues who want to dissuade him from his path to the DICTURE OF ART.
Pinakothek der Moderne München