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@PHDTHESIS{Mller:680615,
author = {Müller, André},
othercontributors = {Markschies, Alexander and Bleek, Jennifer},
title = {{D}ieter {R}übsaamen : {V}isuelle {E}rfahrbarkeit
unsichtbarer zu verortender {P}rozesse},
school = {Rheinisch-Westfälische Technische Hochschule Aachen},
type = {Dissertation},
address = {Aachen},
reportid = {RWTH-2016-11871},
pages = {1 Online-Ressource (370 Seiten) : Illustrationen,
Diagramme},
year = {2016},
note = {Veröffentlicht auf dem Publikationsserver der RWTH Aachen
University 2017; Dissertation, Rheinisch-Westfälische
Technische Hochschule Aachen, 2016},
abstract = {The dissertation analyses by means of art science the work
of the artist and August Macke Laureate of the City of Bonn
Dieter Rübsaamen, who as of handing in the dissertation
request lives in Bonn, and it contributes to further
developing scientific (e.g. epistemological) methods. The
catalogue raisonné constitutes the empirical basis of the
dissertation and comprises 3450 works of the artist which
have been archived by the author over a longer period and
gathered from different places. The catalogue raisonné
begins in 1948 and ends in 2015 with the artist’s
preliminary latest works. It contains, as far as
retraceable, information on the year of origin of each
single art piece, title, technique and dimensions. As the
works are located mostly in the artist’s workshop, yet at
other places too, the catalogue raisonné adds
anti-chronological numbers to the single works. Catalogue
raisonné and pictures of the work cycles, which are
mentioned in the following, are integral part of the
dissertation. Based on the empirical primary material of
3450 works, the author deviated 15 work cycles and
attributed to them 100 works which he subjected to an
analysis by means of art science. This analysis was oriented
towards guiding research questions, the classification of
the artist’s work against current theories of contemporary
art, pre-iconographic, iconographic and iconological
analytical and interpretative elements as well as the
structure of the works, the story of the artist’s life,
his work process and communication style as well as the
recension and reception by others.The guiding research
questions refer to the following aspects: Which mode of
procedure does Rübsaamen choose as artist and scientist; in
which way would this approach to be operationalised in the
sense of his steps of emergence?Under which conditions do
the works of Rübsaamen materialise; which role do play
circumstances that are part of Rübsaamen’s personality,
his daily work routine and his social environment?Which
influence does literature exert on the works of
Rübsaamen?Which relation does exist between his works,
their presence and their perception by potential
observers?Which additional elements exert influence on his
works in the sense of the current paradigm shift to be
stated from the pictorial and iconic turn (cf. William J.
Mitchell 1992; Gottfried Boehm 1994; Christa Maar, Hubert
Burda 2004) towards the visual, sensitive and preceptive
turn (cf. Ulrich Ratsch, Ion-Olimpiu Stamatescu, Philipp
Stoellger 2009) as well as the performative turn (cf. T.C.
Davis 2008; Elin Diamond 1996; Michael Lingner, Pierangelo
Maset, Hubert Sowa 1999; Stanislav Roudavski 2008; Hubert
Sowa 2004; Hubert Sowa, Alexander Glas, Monika Miller 2012)
Are Rübsaamen’s works part of a new way of thinking and
observing Rübsaamen is a trained lawyer with a doctor’s
degree, is living in a second, intercultural marriage and
was an executive at the Secretariat of the Standing
Conference of the Minsters of Education and Cultural Affairs
of the Länder in the Federal Republic of Germany (KMK). He
has never been trained as an artist in any traditional sense
and has thus acquired artistic tools in an autodidactic
manner supported by his social environment.A key moment in
Rübsaamen’s life was the visit to CERN (Centre Européen
de la Recherche Nucléaire) in 1992. Visiting the centre and
talking to the scientists there made him be convinced that
some natural scientific phenomena cannot be illustrated
because of their natural haziness, though art might be able
to illustrate this non-representability.Thus, he has
developed in the course of his artistic work steps of
emergence. They are his blue print for the formation of a
painting, the composition and elements of which he provides;
yet the interpretation is handled by the observer who
finally produces the image in his head. Rübsaamen is thus
unintentionally close to, amongst others, Pierre Huyghe. The
steps of emergence have been derived from some sentences of
Ludwig Wittgenstein’s Tractatus Logico-Philosophicus that
are crucial to Rübsaamen.Rübsaamen works in space and
time, he explores in an attentive manner the premature and
incompleteness, calculates the things yet to be located,
visualises processes yet to be positioned and creates
possibilities with his art as well as he develops some kind
of art-in-between. In doing so, he proceeds scientifically,
systematically and oriented towards concepts. Rübsaamen
always entitles his works by himself. Off-the-record
conversations with journalists and curators offer him
opportunities to influencing the interpretation of his
works. Altogether 57 solo and group exhibitions can be
retraced.Both, the work analysis as well as its discussion,
suggest that Rübsaamen may serve as an example of the
paradigm shift from the pictorial and iconic turn towards
the visual, sensitive and perceptive turn as well as the
performative turn. Classifying his work against current
theories of contemporary art (e.g. open pieces of art,
observer’s participation in the production of the
painting, art as cross-bordering activity between sciences
and disciplines, including the artist himself as a
cross-borderer) cannot be delivered however in an explicit
manner. Alike, Rübsaamen cannot be labelled with one single
unquestionable type of artist. Due to his artistic
neighbourhood to Shusaku Arakawa, Joseph Kosuth and Glenn
Ligon he might be called a conceptional artist who devoted
himself to the graphic and pictorial value of the word. In
dependence of the exhibition Globale: Reset Modernity! being
on stage at the Zentrum für Kunst und Medientechnologie
Karlsruhe in 2016, which had been curated by Bruno Latour
and others, the description of Rübsaamen as artiflex
diligentiae et innovationis as well as artiflex disciplinae
argumentum seems obvious. It is this approach of a method
that turns into the content, which characterises the
artistic work and life of Rübsaamen. Rübsaamen, by the way
declared in 1985 his own juridical dissertation on
Minorities’ Rights in Non-Consolidated Limited Companies
of 1971 to be a master piece on My Beloved Minority –
Shareholder Minority which he contributed as an artist book
to a group exhibition in 2010. The 30 Leitz Folders
containing his juridical surveys and expert statements had
been declared by himself a total work of master pieces. He
smuggled his work on the Elementary Button of 1998, which is
an original smoke detector emergency button treated in an
artistic way, into an exhibition of students’ works in the
secretariat premises of KMK and thus got awarded an
exceptional price by its president.},
cin = {218010},
ddc = {720},
cid = {$I:(DE-82)218010_20140620$},
typ = {PUB:(DE-HGF)11},
urn = {urn:nbn:de:hbz:82-rwth-2016-118711},
url = {https://publications.rwth-aachen.de/record/680615},
}
Gast ::