Back in there, “Economic Values” is linked to these historical events

And here we may still be confusing what exactly Beuys has done unless we associate arts with historical events of the specific years together.

The artworks which Beuys created in the 1980s, looked to be just a simple shelf with a few commodities, mainly food.

But the originated where he received from East Germany and then displayed on shelves. The works seem simple but implicitly embodies artists' views on the world.

The metal shelves were stacked with bagged food, and other daily supplies purchased by the former German Democratic Republic. The packaging has become degraded over time and the food has broken down. The walls are hung up with a group of nineteenth-century paintings collected by Tate's gallery, which are roughly in line with the age of Carl Marx's (1818-1883). Each exhibition is different from the museum's own collection. Beuys demanded that they are decorated in gold frames to express the taste of the middle class. They contrast with the unseen products on the shelves.

The loss and deterioration of the work overtime was also the intention of Beuys.

From my point of view, he pointed out this kind of imagination of links between the process of renewal and changes in materials.' Economic Values' is the clearest work to point the idea of 'social sculpture'

Society needs to experience: Some of these foods, however, may have been rotten at the exhibition, but packaging bags are perfectly wrapped with the goods. Like the world, it seemed to be a perfect parable, and everything after World War II seemed to have gone, but the world that was laid after Yalta continued.

Economic Values makes me feel that artists are a reflection of socialism and Marxism, and what kind of society is wonderful? This food was valuable in socialist countries at the time, but in capitalist countries, it was overproduction and redundant.

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Back into the art, I reviewed some of the interviews about Beuys and there is an important idea he speaks out, 'only art makes life possible' - it's the core and the fundamental explanation of his philosophy.

he said: "I'm trying to say that if there is no art, the physiological concept is incredible. What I'm saying is that man is not just a series of chemical processes, but also a tangible one. human beings are truly alive. . . only when they realize that they are creative and artistic, even the behaviour of potato skin can be a work of art if it is a conscious act." In terms of that, human beings, animals, history, plants, stones, time, etc. Beuys chooses art seems like no that hard to understand anymore. Art can be a political action or production.  Art is the field allowed people to thought what they're doing.

And it should gradually become an increasing political task, it is a matter. 

Not like any other artists, those who work with political issues seems always to have a sense of "carrying the mission and capacity", their artworks are more like building the bridge of politicians, parties, people who had power and normal citizens, or they are trying to express the idea of how can an ordinary person can deal with this whole society? Just like what he said in the interview: "One must learn how to grasp the future and acquire the idea of how history develops. Once this is realized, the unconscious becomes conscious, and psychoanalysis and psychology simply expect to strike a balance between the person and the unconscious. Man must free himself from his own irrational demons, which have failed in the past, not just fascism, throughout history. Only when one becomes aware of his historical progress and knows his past will one prepare for revolution and thus become a future revolutionary, and new sociology must be created if all this can happen."

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The 'Economic Values' hint me a lot of new directions of art, such as Sociology.

In the past decades, we were in the art based on capitalism aesthetics. Especially in this year 2020, which we had a lot of irreversible movements and social events, it is a good start, and to re-think about my identity of being a person who grows up in the socialist country. Even more, and think some of the artists, art events, movements, and"ism" are offering the opportunity to re-evaluate the Social Realism Art Existing Outside the Traditional Western aesthetics System. The evidence of social life must be clear, and there are a huge among of tangible objects, which are similar to the products placed on the 'shelf' of 'Economic Values'. 

 

Cases, for example, could be traced back in In the 1960s, when Inmendorff

was a student of Beuys. It was the new era of the other tone of sounds,

and in 1965 Beuys performed "How to Explain Painting to the Dead Rabbit",

which had a strong catalytic effect on Imendorf, who, deeply aware of the

limitations of his picture and language. Inmendorff tried to find an effective

artistic way to resist the aesthetics of capitalism and act more radically than

Beuys. Jörg Immendorff and other expressionist artists are also well-known in

a socialist society. The most relatable example is he once became a Marxist,

in the 1970s. Using the Neo-expressionism he offered the idea to us of how

to be a painter in a political landscape seemed to be a problem in the late

20th century. He has always been concerned about where artists should put

themselves in the question, is it the edge of society, or the continuation of culture?

He says artists should be the tongue of culture.

​Based on this perspective, my point is not making the two of this aesthetical system as in the binary opposition. 

The painting motivation goes beyond create functions

Immendorff's vast paintings are full of symbols, those symbols were placed in the theatre. Political images like Soviet sickle，German eagles and socialist workers’ fists are truly mixed with his expanding role camp, including politicians and artists’ friends. The middle is a history of rewriting -- political and artistic -- where personal position and moral harmony appear at the forefront.

Interestingly，his style is between painting expressionism and political cartoons. which had a lot of impact on many Chinese artists back in the year 2000. The illusion of the People's Party is very important, just like the audiences and followers are crucially important with Joseph Beuys, and those Fluxus artist. Immendorff exaggerated each element to its graphical extreme, and by recording the spirit of the 20th century. In the collectivism idea based society, an artist is more likely to have the identity recognization problems, it is the struggling in which class should they be in. Some of the artists like Inmendorrf using the eye-catching pigment to negotiating their own position of class and some cases are shown as creating religious and belives in between. not only presented the story of our time, but also questioned the moral and ethical nature of the increasingly lighter society."It is almost impossible to recapture the Utopia spirit of the 1980s, not only because there is no cultural dialogue, but also because there is no possibility of harmonizing religious, racial and moral differences today.

To sum up, for the artist who like Inmendorff might ask: Why do I paint? but for us in this society nowadays, What is the purpose of my daily creation? "should be the issues to discuss with. In this year we've been through a lot unexpected things and they were been called: "black swan".It seems very unfriendly that the press and media are posting the unsatisfied news and tragic news every day. As the identity been both aritist and human being, I've never thought I'd be so eager for changing and revolution today. With this concern, I've always wanted to know what will happen next to our world, at least, been mobilized in the art field, considering the current political pattern are having the great relationship with art, could we really have another aesthetic system or another-ism-based art coming to this world?

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