Jonathan Mays celebrated no less than “1000 Years of Boys” Wednesday night at the Folkstaiter to celebrate Joseph Boys’ 100th birthday. For nearly two hours, the 51-year-old gave the German-speaking art scene a tour of the life and work of the great German artist – and he did not dispense with criticism. The evening’s response: “I love him, but I do not praise him.”
Hennig Nass, who was responsible for the concept and soundtrack for the evening, spared no agonizing imagery: when the curtain of the Volkstheater theater rose, the audience (connected via live broadcast) found themselves amid a reenactment of Beuys’ 1969 work “Titus Andronicus / Iphigenia”, where he was A live gray horse eats hay in a rope enclosure. Thus, after Dusan David Parizek’s “The Happiness and the End of King Ottokar” in 2019, he has already become the second true horse to enter the Volkstheater stage. Of course, after this great introduction, the animal will soon be replaced by a white rocking horse.
After all, Meese gives complete help to the insane, charting numerous circles around the little ring into the sounds of the title melody for “Pippi Longstocking” or “What are you wearing tonight” for the Düsseldorf band, while writing to both of them the melody: “Old Boyz was so dirty Politically, Little Boise was pretty dirty, and that was a plum … ”
“Boyce’s stuff was never sacred,” said Mies, who wore several rubber animal masks over the course of the evening while Sertaki danced with the Hitler salute and trampled on the sugar cubes and ghee packages also used in Boise’s work. It quickly becomes apparent: “Boyes wasn’t always the great artist,” says Mays, who has repeatedly criticized the political ambitions of Old Boyce. “Starting a party is totally disgusting, and this is a betrayal of art,” Mays describes, referring to Boise’s commitment to the Greens.
Beuys does not work well for Meese. To clear things up, he put a stick in his mother’s hand, who continues to say she should read the statement. Mays said, “As a free man, I brought art into the people,” referring to Boise’s shift to France, which led to a short journey into theoretical writings about the French Revolution. You can no longer fully follow what is happening on stage.
Meese quickly changes masks, wigs and outfits, spinning around the ring faster and faster, while his mother continues to pick up a ringing phone due to calls from the “Young Boys”.
“When I was young, I was rude, and didn’t want any disciples,” Mays sighed again to draw a clear line between the “old” and the “young” boys. The evening finally ends with the question “What is the difference between Beuys and Meese?” Then the mother knows the answer: “You are not ready yet.”
So Mays does what he does best: he calls on art to take power in the state, raises his hand again and lets the curtain fall. By the way, you haven’t seen the advertiser, Bernard Schutz. Initially it was called via fade-in. “Bernhard Schütz should charge the Rimini battery at home (sic!). Ciao Bello!”