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.

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

Paul McCartney to Jim Capaldi: Now they can sue us. (Nun können sie uns verklagen.)

Jim Capaldi and Rene Tinner visited Paul McCartney. Jim wants to know how Paul got all the Beatles recordings for the Anthology, because some of them were never officially available as records before. Pirated copies. Paul explains, „from the internet“. Laughing. „Now they can sue us“ – the nice idea that the thieves can now sue those who took back their property makes for quite a refreshing serenity.

Jim Capaldi? Wonderful songwriter, unfortunately deceased. He wrote for Traffic The low spark of high heeled boys – Reebop Kwaku Baah plays here. In 1983 he recorded the beautiful Masimba bele with Stefan Krachten and Helmut Zerlett at CAN Studio. Reebop, who by the way could cook real soul food, died in the same year at Christmas in a Stockholm studio.

History and dust Georg *18.08.1929 † 04.04.1969

Scan 2                                                                                                                                                              Six he was, when Pauline, his jewish mom took her life, thirtynine he was, when he hang himself on Good Friday, ten I was then, he was my dad. Magdalena Gross, daughter of Isaak Gross and Rahel Matzner, his grandma. Rahel was born in Oświęcim and died before these little Austrian came to power. That and that her family had a Liqueur distillery give`s me some pleasure.

The Shock of the New….in 2 varieties

Kunst Crash Kurs. Eine  wunderbare TV Dokumentation von 1980 von Robert Hughes + BBC + Time-Life-Film.  8 teilig und sie sind wunderbar anzusehen, eine Art Crash Kurs in Kunst. The keyword of the century: Modernity…..gemeint kann da nur sein, das 20. Jahrhundert.

Juni 2013: Bei Youtube leider nun für Deutschland gesperrt, anyway von Robert Hughes gibts Video Lessons about Art fast wie Sand am Meer.

 

A a different kind of shock: Robert Hughes, Art Critic NYT, about the Basquiat Retrospektive, Whitney 1992„…a parody of a funeral rite performed over a slender talent encased in a sarcophagus grossly to large for it…The life was so sad and truncated, and the art that came out of it so limited, that it seems unfair to dwell on either. Who breaks a butterfly upon a wheel?

Encore? A Disaster

Basquiat`s sensibility, insofar as he can be said to have any, was that of an untrained and unruly adolescent wise only in his instinct for self display as a means of self-advancement… I´ve seen subway-car grafitti that was a lot more interesting than this stuff.“ Hilton Kramer, New York Observer.