Mister Basquiat– the real one. Düsseldorf in September 2019 he

…showed himself in PARKHAUS, the Exibition Hall in the Malkastenpark supported by the cultural office of the city of Düsseldorf. Malkasten is an Art Assoziation, founded on August 6, 1848. On display seeing is believing, his act of sabotage, like his coded report on crimes against humanity. Like a Trojan horse, his works smuggle also the Congo atrocities onto the walls of art collectors and museums. The category intuitive primitivism attributed to him by his art dealers Bruno Bichschofberger and Mary Boone– was being questioned there. Result: quite the opposite. The real Mister Basquiat was discovered through a coded message from 1979, which he left in the diary of Eva Gössling, who played with the first German all Girl Punk Band Mania D. in New York.

during the shooting of Downtown Beat, 1980, Photo © Bobby Grossman.

Mister. Basquiat- the real one, a travelogue by Eva Gössling was documented by Ute Janssen, University of Fine Arts of Hamburg, where she worked with Wim Wenders. She studied with Nam June Paik in Düsseldorf. Curator: Karlheinz Rummeny.

Visitors who did not see the film from Julian Schnabel as Projected Art History (Dr. Doris Berger), but thought it was real: „Why did Basquiat fool everyone“, counter-question „who else would have bought his paintings“? His intuitive primitivism– Jeans own secret sign system©. Mary, Queen of Scots brought hers to the scaffold, unmasked by the code-breakers Elizabeth I of England. Africans in the Diaspora, IMPORTED MEAT, Basquiat Code, developed figurative speech, a verbal variant based on what they could not be robbed of, their intellectual and spiritual property©. Yet as a secret language not even recognizable to their white owners, as are the works of Basquiat. The German media could not believe it, they stayed away from the press event. Except for the Bild newspaper. Would I sell the case? The question is always asked. Either something has a dignity – or a price. Dignity? Was robbed from him by false prohets and merchandising. The suitcase remains with me and with his saliva inside.

You only see what you know.

“You have a head and a heart? Reveal only one of them, I say; If you reveal both at once, doubly they’ll damn you, for both.” Friederich Hölderlin, poet, 1770-1843

Like historian Howard Zinn, Jean tells History from below. Zinn is the german word for TIN. TIN you found spread over his work. In DOG LEG STUDY you find Jeans position on the world history summarized in this two words. And the notion WORLD HISTORY 3 x times. A cut out sketch, to show the original is not allowed. Of course. The Development from God to DOG is theme of his oeuvre, in Latin: opera = effort, work. OPERA he wrotes in ANYBODY SPEAKING WORDS, which shows as well the mouth opening which represented an ancient Egyptian ritual of sacrifice and resuscitation and was performed during mummification. It was used for inspiration and to use bodily functions with godlike powers.

GOD to DOG. Dog Synonym for slave.

Jeans OPERA, the WORLD HISTORY simplified: Until the Renaissance the moors, were in Europe of equal value. They brought science to the rural world in Spain, where it spread further. The moors as the descendants of Re, the ancient Egyptian deity of the sun (Africa) who created himself and the world out of nothing. In the 15th century the invasion of Africa and all America started. Thanks to comparative anatomy(CA) and the abuse of God(Re) as creator of the earth (spiritual misuse), Europeans allowed themselves to plunder the rest of the world. The film Out of the Darkness, is also a key to Jeans OPERA, and explains this wonderfully. It was Da Vinci, whom Jean adored very much, who started with CA, but with horse and dog leg. Jean turned it into man and dog. The scientific racists of the 18th and 19th century legitimized with CA to condemn, abuse and kill the greater part of the world population via an inferiority they have invented.There are no human „races“, we are one with different phenotypes.

John Berger, the art critic Ways of seeing BBC, who shared 1972 his Booker price money with the British Black Panther, hinted in the Neue Züricher Zeitung in 2011 Metaphysik aus Downtown, Jean created space for invisible, clandestine truths – like a saboteur. J. Berger could not identify Basquiat’s sabotage work. That’s too bad. For him, and also for the readers of the NZZ, reading the PhD thesis by Dr. Susanne Reichling „Jean-Michel Basquiat. The African-American context of his work“ (Hamburg1999) would have shed considerable light on him and the readers of the NZZ. Only in German www.deepl.com is a good translator. In his so called masterpiece „Leonardo s Vinci’s greatest hits“ you read LEG MAN DOG.

„[…] but refers with them to the history of Leonardo da Vinci’s comparative anatomical and physiognomic studies, in the course of which the black man was constructed as a counter-image to the ideal of the beautiful, the good and the true“. Dr Susanne Reichling, „Jean-Michel Basquiat. p.151.

To be understand by me as Da Vinci`s greatest assault. His world leading expert, according to Bernard Arnault, Louis Vuitton Fondation, is Dr. Dieter Buchhart, quoted incidental material from Dr. Reichling’s PhD thesis for the Beyeler Fondation, Catalogue 2010, Hatje Cantz. He saved Jeans true BOOM FOR REAL. You only see what you know, Johann Wolfgang von Goethe. Why I see what I know? In 1979, I thought Jean had lived his life on encyclopedias. From him I learned that the Belgian King Leopold II surpassed Adolf Hitler in cruelty. Why Hölderlin? Jean had a head and a heart. More? Tomorrow.

Basquiat`s brilliant logic.

IMG_0733 Kopie

MAN MADE Photo: Thomas Ruff, 2010.

Oct 1979, in NYC with my Band Mania D. SAMO© and I met at Arleen Schloss, where he showed his Color Xeroxes and I played with my Band. When I left, going back to Berlin, he wrote in my suitcase: SAMO© ESTA EN ALGO, SAMO© on to something, is an enigma, which allows formation of words in three other languages. One of these words, a synonym for connect-edness, he used a year later in its natural physical state as paint and writes a word in a drawing. This word is in the diptych „SAMO© ESTA EN ALGO“ (1981), an approximation of the message in the trunk and also mysterious. It sounds cryptic, in return it has a simple and brilliant logic. His paintings where deliberate Enigmas, Prof. Robert Farris Thompson, Yale,  in „A Radiant Child“, by Tamra Davis, on youtube, at 1:28:00 min.   Like to hear the Colonel John Trumbull Professor of the History of Art at Yale University by yourself? Shortly before Mr. Thompson you can hear an Art-Dealer speaking about his huge work and early death.

Eva concert at As with SAMO

At A´s  NY, Autum 1979.

Spanish words in the trunk of a German Sax-Player?“ If we want to speculate on what might Constitute some female forces in Basquiat’s work, it would be the continious chatter en espanol, Dr. Kellie Jones, Columbia University, „Lost in Translation“: Jean-Michel in the [Re] Mix in: Exhibition Catalogue, New York, Brooklyn Museum, of 2005.

Only Words? Merci to Louis Armand, Charles University Prague, „According to René Ricard, the words and phrases Basquiat habitually worked into his paintings bothered the collectors, just as later on his use of silk screens would bother dealers like Bischofberger who felt they detracted from his “intuitive primitivism.“ Ironically enough it was Basquiat’s inclusion of textual elements and multiple xeroxed images that comprised his most recognisable “trademark.“ In his earliest paintings, such as Crowns (Peso Neto) (1981), Basquiat had used collage to achieve a surface texture of word fragments and “ruined“ serial images (here, the “crowns“ which re-emerge throughout Basquiat’s Œu­v­re). Elsewhere Basquiat introduced trademark and copyright symbols, contributing to his so-called “graffiti“ texts a critical/satirical edge that may have disconcerted some of his early society patrons. „One of the difficulties in assessing the significance of Basquiat’s art, however, is due to the fact that a large number of his paintings have never been seen by the public,“ Louis Armand, director of the Centre for Critical and Cultural Theory, Prague.

Berlin, 1979

Blurring with spit, a spell? The Yoruba believe spit contains Ashe,  God`s power to create action, writes Dr. Hazzard-Donald, Professor of Sociology, Anthropology, Rutgers University. „He believed in the magic of the moment, in a cosmic synergy, the use of matched mind and was able to make it visible. He was a magician, not as a hoax: He followed his supernatural instincts. The Loa, the voodoo gods, were known from Haiti and from Charlie Parker’s music, and he knew that the African gods had adapted to modern times. He believes in talismans and sympathetic magic. >> I wrote „gold“ in all these pictures and then immediately came all this money in << he once said to Henry Geldzahler. Glenn O`Brien in Basquiat, Catalog Beyeler Foundation, Hatje Cantz, 2010.  That he spreads water in the MOMA, a  magic ritual and not want to speak about it, you can hear in this Swiss-Tv doc at about 17:00 min. Also fine and of interest: Glenn O`Brien`s „The show must go on“.   More? At Pentecost. At Shavuot.

Florian †

Berlin, 1979
when I left Düsseldorf to study in Berlin 1978, I took my painting of the best dancer in town with me, against homesickness and so. Foto: Karin Luner