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The fear goes around in galleries and libraries of Western world. It is fear of feminism. Recently she was again in England when Manchester Art gallery hung painting Hylas and Nymphs (Hylas and Nymphs) of English painter John William Waterhouse from Wall in 1896. The curator Clare Gannaway justified step with an unusual argument: “The painting represents female body as a passive, decorative form. We want to challenge this Victorian fantasy. ” The work shows a young man who reaches for a young, half-naked nymph bathing in a pond with six or women.
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But beware with too quick judgments. The action was not a feminist censorship, but a performative act: image should only disappear temporarily, so that visitors to museum can express mselves and attach notes to wall in which y describe how y find action. So that a discussion arises wher art, which represents classical role models between men and women, really belongs in museums. And if so, in what form.
Instead of rethinking action in its openly provocative form, value conservative journalists reacted indignantly. The picture smug wrote: “A first painting has become a victim of current sexism debate!” And Basle newspaper titled: “MeToo, new Cold War?”. With a view to art scandal, journalists pointed out that evidence has now been provided that MeToo debate has triggered a hysterical mood that goes beyond all imaginable corpses and value scales. and mocking true victims of sexual violence. Cultural guards stepped on plan and sinnierten downfall of West, as if henceforth no confrontation with art would be possible, which contradicts today’s moral standards. The chief of Frankfurt museums was horrified and said about Frankfurter Allgemeine Zeitung: “First we hang pictures, n freedom to nail.” And n again, “If I make artist’s virtuousness a yardstick, museums will soon be empty.”
Yoga class instead of nicotine
The fear of censorship, of an over-sensitive and moral diction seems to have spread since n. As safe-space proponents of gender seminars are going to take discourse and all art from museums, all films from archives, where even smallest Sexismusverdacht might come up. It is interesting that since n serial are full of impulsive counterspeeches, which make mselves strong for freedom of art and for possibility to celebrate politically incorrect, subversive, even violent fantasies in artistic context.
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Among cultural conservatives, re is fear that Holy Genius, Polternde artist, could be replaced by over-sensitive, boring, yogurt-löffelnden beanpole that nowhere else wants to provoke, but rar Morality over artistic claim, to make it really all right. Hanno Rauterberg wrote in time: “The twisted lust for turmoil, search for truth in ecstatic loss of control has largely been superfluous today. Although avant-garde spirit of art is still being conjured up ritually, those who look around younger artists will hardly find Dionysian fiends. Rar stählt one’s own sense of purpose in gym, than to ruin body with alcohol and nicotine creatively. In past, artist was looking for transcendence in TransLegal, today in yoga class. “
It is not entirely wrong: fear of politically incorrect may not be a view of value of a work of art. This refers precisely to older art, such as works from 19th and early twentieth centuries, which have been created in a completely different aestic but also social value system. And it is true: without willingness to bear shady, to endure moral assault, to accept intoxication and excess, Erich Kästner would finally be no longer readable (bad woman picture!), Botticelli no longer exhibited (bare bosoms, whir Eye looks!), Thomas Mann no longer a national poet ( death in Venice would be justiciable today) and Shakespeare no longer performable (see Hamlet and Misogyne quote “weakness, your name is woman!”). Lichtenberg would have to be banished and Schiller anyway. These considerations are not absurd. For re are you, overzealous moral apostles who are now saying that you must not see any Woody Allen movie anymore or show up in public with Roman Polanski. It is understandable that conservative columnists now warn against such a prejudging. And in front of an overzealous Ineinssetzung of artist and work.
