In this essay, I aim to explore the theme of paranoia as depicted in the exhibition "Paranoia" at the Freud Museum in the United Kingdom. The show seeks to investigate the post-9/11 world and the role of political power and media in shaping public perceptions of good and evil while examining the themes of suspicion, fear, trauma, and delusion. Specifically, I will analyse the work of Franko B., a London-based artist who challenges conventional perceptions of the body, politics, and art through his paintings and performance. At the exhibition, I was struck by Franko B.'s black acrylic paintings that deviate from traditional aesthetics and prioritise texture and depth over beauty. As a performance artist, Franko B.'s use of blood-letting performances at Tate Modern in 2003 further highlights his challenge to conventional artistic boundaries and his quest to establish himself as a politically relevant individual.
Moreover, the exhibition features video installations that attempt to politicise art directly by exposing the development and dissemination of societal myths and prejudices. For instance, Jackie Salloom's "Planet of the Arabs and other works" is a 20-minute video that compiles stills from various media sources, such as films, magazines, newspapers, and television, to expose the social implications of such prejudices. Given my interest in the political impact of art and its potential as a tool for critiquing society, I will examine how this exhibition relates to Joseph Beuys' theories on democratising art. In particular, I will consider whether Franko B.'s performance-based "Action Art" can effectively empower individuals and transform them into artists themselves. Overall, the exhibition "Paranoia" offers a thought-provoking commentary on suspicion, fear, and trauma in the post-9/11 world. Finally, through the works of Franko B. and other artists, the exhibition challenges conventional notions of art and highlights the potential of art to critique and challenge societal norms.
"Planet of the Arabs" is a documentary film directed by Jackie Salloom, not a book. The film explores the stereotypical portrayals of Arabs in Western popular culture and media, examining how such representations perpetuate harmful stereotypes that contribute to anti-Arab racism and Islamophobia. Through interviews with Arab-American scholars, activists, and artists, as well as a critical analysis of films, TV shows, and news media, Salloom's documentary highlights the damaging impact of Orientalist depictions of Arabs in the media and calls for a more nuanced and accurate portrayal of the Arab community. The documentary has won praise from critics for its insightful and powerful critique of Western media's stereotyping of Arabs. It has been screened at film festivals worldwide and has won numerous awards for its contributions to the ongoing discussions surrounding race, representation, and media.
Joseph Beuys' artwork and philosophy have significantly influenced the development of contemporary art. His work often involved performance, installation, and sculpture, emphasising everyday materials and natural elements. In theory, the article 'Not Just a Few Are Called, But Everyone' is a transcript of a 1978 interview with Beuys conducted by Willoughby Sharp. In this interview, Beuys discusses his views on art and politics, particularly his idea of 'social sculpture.' The article presents Beuys' belief that everyone is an artist and that art should be a tool for social change. He believed that art is a product and a process and that anyone can contribute to creating social sculpture. Social sculpture is the idea that human creativity and imagination can shape and transform society. Beuys believed that art could be a vehicle for change and that artists had a social responsibility to use their talents to create a more just and equitable world.
The article provides a fascinating insight into Beuys' approach to art as he discusses his belief that art should be inclusive, democratic, and accessible to everyone. He argues that art is not only for the elite but should be for the masses and that everyone has the potential to be an artist. Beuys' concept of social sculpture is particularly noteworthy, as it suggests that art has the potential to be a transformative force in society.
During the 1960s, the traditional perception of the artist as a unique and singular genius began to shift towards a more inclusive, process-based approach that challenged the underlying mechanisms and mythologies of artistry. Andy Warhol, in particular, sought to question the foundations of the artist's role, fabricating the notion of the artist as a "demented idiot-savant" whose suffering brought light to the world. Warhol's pop art techniques, similar to the collage techniques of the futurists, aimed to contemporise art and change the perception of the artist's relationship to the world. Politically, Warhol's mass dissemination of art meant that the artist was no longer seen as objective or singular, and the "truth" offered by the artist was no longer situated above society but alongside it. This resulted in a fusion of high and low forms of entertainment and politics.
Joseph Beuys believed art should seek to democratise the artistic world, making artists of everyone interacting with it. The democratisation of art is crucial for democracy to exist. Rather than being a peripheral critique of society and politics, art should be a principal component, and everyone should be a co-creator of social architecture. The democratisation of art is achieved by leaving gaps and ambiguities in the artwork that the artist can fill with their engagements and by using techniques that democratise art.
The specific role of the artist and the concept of "truth" is further interrogated by Tim Blake's piece The Big Secret, which features an unmediated interview with the conspiracy theorist David Icke. The absence of artist-like pretensions in the film challenges the concept of the artist and allows democracy to occur. Franko B's work attempts to transform the artist's image and how it is perceived by the masses, focusing on democratising his viewers. As most people feel politically isolated from art, it is crucial that the artist relates to people.
References1. Beuys, Joseph (1921-1986) 'Not Just a Few Are Called, But Everyone', Art in Theory, pp 903-6
