{"id":66324,"date":"2025-06-04T22:31:05","date_gmt":"2025-06-04T20:31:05","guid":{"rendered":"https:\/\/dasgoetheanum.com\/?p=66324"},"modified":"2025-06-04T22:31:10","modified_gmt":"2025-06-04T20:31:10","slug":"beuys-and-national-socialism","status":"publish","type":"post","link":"https:\/\/dasgoetheanum.com\/en\/beuys-and-national-socialism\/","title":{"rendered":"Beuys and National Socialism"},"content":{"rendered":"\n<p><em>Bedburg-Hau, Germany.<\/em> <strong>A fresh examination of a controversial topic.<\/strong><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p>Joseph Heinrich Beuys was a German performance artist, sculptor, draughtsman, art theorist, and professor at the D\u00fcsseldorf Art Academy. In the 1960s, 70s, and 80s, he was one of the best-known artists on the modern art scene, both in Germany and internationally. His perspectives and artistic work were significantly influenced by anthroposophy, among other things. Although Beuys&#8217; legacy is clearly associated with an active social commitment and a humanistic attitude in public reception, he has long been accused of having an unreflective or unclear attitude towards National Socialism. In 1941, the young Beuys volunteered for military service in the Luftwaffe during World War II. Even in his later life, there are documented statements by the artist about his school days under the Nazi regime that are irritating. Critics agree that Beuys never distanced himself clearly enough from National Socialism.<\/p>\n\n\n\n<p>The Museum Schloss Moyland, located near Kleve, the town where Beuys attended school, is devoting a new research project to exploring the artist&#8217;s connection to National Socialism. The foundation of the museum owns the world&#8217;s largest collection of works by Beuys, comprising approximately 6,000 pieces in total. Curator Alexander Gr\u00f6nert emphasizes that Beuys repeatedly dealt with the themes of the Second World War and Auschwitz in his art. It is precisely this content that is the central theme of the exhibition \u201cAuschwitz and the Second World War in the Work of Joseph Beuys,\u201d which can be seen until June 29, 2025. In addition to the exhibition, the museum has designed a so-called laboratory room, where a table with digital and analog resources invites visitors to conduct their own research. This laboratory space will remain part of the museum in the long term and will also encourage a critical examination of the topic beyond the current exhibition.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p><strong>Sources <\/strong><a href=\"http:\/\/dw.com\/\" target=\"_blank\" rel=\"noreferrer noopener\">DW<\/a> and <a href=\"http:\/\/dhm.de\/lemo\" target=\"_blank\" rel=\"noreferrer noopener\">Lebendiges Museum Online<\/a><br><strong>More <\/strong><a href=\"https:\/\/moyland.de\/en\/\" target=\"_blank\" rel=\"noreferrer noopener\">Moyland<\/a><\/p>\n\n\n\n<p><strong>Translation <\/strong>Charles Cross<br><strong>Image<\/strong> Portrait of Joseph Beuys in Luftwaffe uniform, circa 1942\/43. Stiftung Museum Schloss Moyland. Reproduction by Robert Lebeck 1970 \u00a9 Archiv Robert Lebeck.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Bedburg-Hau, Germany. A fresh examination of a controversial topic. Joseph Heinrich Beuys was a German performance artist, sculptor, draughtsman, art theorist, and professor at the D\u00fcsseldorf Art Academy. In the 1960s, 70s, and 80s, he was one of the best-known artists on the modern art scene, both in Germany and internationally. His perspectives and artistic work were significantly influenced by anthroposophy, among other things. Although Beuys&#8217; legacy is clearly associated with an active social commitment and a humanistic attitude in [&hellip;]<\/p>\n","protected":false},"author":19305,"featured_media":65915,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[9097,8784,8820],"tags":[11661,11663,8803,8799],"class_list":["post-66324","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art","category-exhibition","category-news","tag-ausgabe-21-2025-en","tag-english-issue-23-2025","tag-news-en-2","tag-worldwide"],"acf":[],"_links":{"self":[{"href":"https:\/\/dasgoetheanum.com\/en\/wp-json\/wp\/v2\/posts\/66324","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dasgoetheanum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/dasgoetheanum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/dasgoetheanum.com\/en\/wp-json\/wp\/v2\/users\/19305"}],"replies":[{"embeddable":true,"href":"https:\/\/dasgoetheanum.com\/en\/wp-json\/wp\/v2\/comments?post=66324"}],"version-history":[{"count":0,"href":"https:\/\/dasgoetheanum.com\/en\/wp-json\/wp\/v2\/posts\/66324\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/dasgoetheanum.com\/en\/wp-json\/wp\/v2\/media\/65915"}],"wp:attachment":[{"href":"https:\/\/dasgoetheanum.com\/en\/wp-json\/wp\/v2\/media?parent=66324"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dasgoetheanum.com\/en\/wp-json\/wp\/v2\/categories?post=66324"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dasgoetheanum.com\/en\/wp-json\/wp\/v2\/tags?post=66324"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}