Krefeld, Bonn

Bogomir Ecker

Museum Haus Esters, Galerie Magers

During the ’70s, many artists strove to leave the ivory tower of the art scene for the arenas of nature and society. Spurred by utopic visions of a humane world brought about by art, they discarded the bourgeois “l’art pour l’art” thinking that stressed the role of genius. With the recent onslaught of young artists concerned with the traditional media of painting, sculpture, and drawing, “pure” art (pure museum commodity) has returned to the focus of attention, a reversal Rudi Fuchs sought to institutionalize at Documenta 7; but recent art production makes this direction impossible to sustain. To an increasing extent, young artists’ work again reflects social relevance, and more and more artists are emerging who have never questioned the need for such relevance.

Bogomir Ecker is exemplary. In 1981, when the Karlsruhe Kunstverein attempted a preliminary redress of the situation in which the

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