Text by Corinna Heumann/ Image by Frank Fremerey

Bonn-based photographer Frank Fremerey and artist Corinna Heumann pose the question in a new series of photomontages.

How can people be inspired to engage with questionable art in public spaces?

Monument toppling, iconoclasm or even cancel culture are attempts to remove works of art that can no longer withstand the spirit of the times. However, symbols of historical aberrations do not lead to deeper cultural-political insights through their disappearance. On the contrary, they elude a lively, creative and honest debate as soon as they are no longer visible. The claim that one must know the past in order to understand the present and invent the future is thus less and less taken into account.

Contextualization

Today, ‘contextualization’ is the way to deal more comprehensively with the complexity of the interplay between creativity and the manifestations of the respective zeitgeist. This involves leaving the artwork in place and adding a plaque with explanations.

However, it is now apparent that these plaques on the historical and artistic background are usually barely noticed. Instead of lively constructive reflection on the diverse intentions, interpretations and instrumentalizations of art in public space, ethically questionable objects that have fallen out of time cause irritation and vulnerability. They are usually overlooked or deliberately ignored. Sometimes these works are even defended as historically relevant or occasionally vandalized.

Aesthetics and Meaningfulness in public spaces

It is surprising to note that the discussions about the aesthetics and meaningfulness of art in public spaces rarely produce successful, future-oriented artistic ideas and works beyond waves of indignation and polemics. The aim here is a participative, constructive dialogue about the value and significance of public space and its design, far beyond its commercial use.

Artistic Freedom

Ethically problematic art should therefore be left in place and released for change. The vertical rotation of such works by 180 degrees is proposed here. In this way, ‘art-on-the-head’ can at best attract cheerful attention. It is perceived in a playfully reflective way. This kind of ‘out-of-the-box’ thinking not only opens up new aesthetic possibilities, but also emphasizes artistic aspects, historical and cultural contexts. Artistic freedom in dealing with history is once again brought to the forefront. L’art pour l’art – the creative game goes on.