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Living with Pop. A Reproduction of Capitalist Realism | e-flux

Living with Pop. A Reproduction of Capitalist Realism | e-flux | European Pop | Scoop.it

Fifty years ago, Manfred Kuttner, Konrad Lueg, Sigmar Polke, and Gerhard Richter coined the term “capitalist realism” on the occasion of their first self-organised exhibition in Düsseldorf. In 1963, Lueg and Richter also staged the legendary Living with Pop – A Demonstration for Capitalist Realism action in the Berges furniture store. The exhibition at the Kunsthalle Düsseldorf is the first to take an in-depth look at the whole phenomenon that is synonymous for a brief period of a specifically West German post-war art, and to show its contemporary relevance. 

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MoMA | The Collection | Gerhard Richter (German, born 1932)

MoMA | The Collection | Gerhard Richter (German, born 1932) | European Pop | Scoop.it
German painter. He studied painting from 1951 to 1956 at the Kunstakademie in Dresden and continued living there until he moved to West Germany in 1961 to resume his studies at the Kunstakademie in Düsseldorf until 1963. There he was taught by the painter Karl Otto Götz (b 1914), a leading German representative of Art Informel; he was especially close to two fellow students, Sigmar Polke and Konrad Lueg (b. 1939), the latter of whom was to change his surname to Fischer and become an influential dealer in contemporary art. In the early 1960s Richter was exposed to both American and British Pop art, which was just becoming known in Europe, and to the Fluxus movement. In response to these trends, he and Lueg organized a Demonstration in Support of Capitalist Realism as a one-day event in a department store, Berges, in Düsseldorf on 11 October 1963, displaying furniture on pedestals as works of art and placing themselves in the room also as exhibits.
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NMEDIAC : Summer 2009: Performing Art History’s Problems with New Media

NMEDIAC : Summer 2009: Performing Art History’s Problems with New Media | European Pop | Scoop.it

In October, 1963, Gerhard Richter staged a one-night-only performative installation artwork in the West German city of Düsseldorf, entitled Life with Pop: A Demonstration for Capitalist Realism (Figure 1).  Appropriating stylistic and thematic conventions of Northern Renaissance painting, Richter explored the relevance of fifteenth century artistic use of interior space, object symbolism, and subject-audience interaction to critically comment upon the benefits and complications of contemporary interaction between art, politics, and popular consumption.  

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