Dress to kill. Burning for CAM. Performance by Miriam Wuttke.

DRESS TO KILL. BURNING FOR CAM.
april 26 2012 – 5:30 pm

Performance on the field
by Miriam Wuttke
as part of the series Hausschlachtung / home slaughtering
supporting CAM Italy & Arthouse Tacheles Art War

sacrificial burning
1 heart of a lamb
9 potatos
3 watercolors

more information:
ARTINFO.COM

http://oe1.orf.at/artikel/303072
http://kritikdesign.blogspot.de/2012/04/cam-art-war-bilderverbrennung-zu-berlin.html
http://miriamwuttke.de/?p=646
http://miriamwuttke.de/?p=181

statement:
DIE FREIHEIT IST IMMER AUF DER FLUCHT
miriam wuttke. dress to kill. burning for cam. watercolor with the blood of a red beet on handcrafted 600g watercolor paper.
25 x 35 cm. april 24th 2012.
to be burned by barbara fragogna, curator of arthouse tacheles berlin,
on april 26, 5.30 pm in front of kunsthaus tacheles berlin.

EVENT ON FACEBOOK

Artist Statement:

As governmental measures become more drastic facing a federal and global “crisis” under the pressure of how to preserve a status quo for the ones in a higher established position, one must ask how far does he or she will go and what direction to chose in a not only responsive but rather active standing.
This is a dynamic and very difficult question.
As stated in one of the comments on Alan Bambergers post on his FaceBook Wall, that “Napoli had other problems (more serious than the ones Antonio Manfredi has)…” or words to that effect, shows how far the angst of a global break down/ existential crisis has pushed people to a conservative and self-contained position.
I am asking myself of how aware I am of these conservative movements in society and if I take them serious enough.
To come to the point of burning art work of a museum collection, one, in this case Antonio Manfredi, obviously must have had a long run of going through energy-sapping fights, disappointments, dispair and hopelessness.
The ones (in this case art consultant Alan Bamberger) who shrug off this measure as a cheap political stunt in the blink of an eye, not knowing the backgrounds, the dynamics, proceedings and local conditions, reflect an unaffected apathy that shocks me the more knowing of their position and standing that displays them as experts and luminaries in their field.
This apathy would be rather sad if it was not worrying.
To partake in the action of a sacrificial burning of a piece of art means to take a stand and (once again) push a discussion about how art is treated as a product or merchandise and in what unfavorable position the artist is as its mere functional manufacurer, trying to balance between the “rules” of an established market and the freedom of expression, developing and handeling ones own artistic work.
Burning a piece of art is not easy.
It is a significant step to open up an inner dispute that we all have to go through to find a strong stance in a time of uncertrainty and spinelessness.
I know of Antonio Manfredis work  as a contemporary art museum director in Napoli, and I admire his strength, his courage and his radicalism in consideration of the onerous conditions he works with on an every day base.
His action is worth to be supported or at least thought about and discussed thourough.
Miriam Wuttke, April 25 2012
image:
dress to kill. burning for cam. “two kidneys for barbara and floating potatos”. april 25 2012.
burned on the field april 26 2012 5:30 pm.
elderberry juice on handcrafted 600g watercolor paper, fabric ribbon. 2x 13x 21,5 cm.