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Beuys’ Hut
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.
