Performance und autofiktionale Subjektivität
The exegetical Beuys-reception assumes that he is an ‘authentic’ artist and that a certain immediacy defines his performance. The study, on the other hand, shows by analysing the tatar-legend as a narrative story, some autobiographical documents, performances and medialisations as well as the Beuys-retrospective at the Guggenheim Museum in 1979 as a platform for the artistic staging that Beuys is an auto-fictional figure, which exposes its artificiality, constructiveness and fictionality. Thus, the irony of Beuys’ performance becomes apparent as a comment on the role and significance of the artist, that he maintained so offensively at the same time.
Janneke Schoene (M.A. Cultural Poetics, B.A. Art History and German Studies) wrote her PhD thesis at the University Münster in Comparative Art. Research focus: Narrating in exhibitions, immaterial and performative art, artistic self-(re)presentation, authorship, autobiography, constitutions of the subject. Recently published: Das Immaterielle ausstellen, Bielefeld: transcript 2017.