Whatever the Federal Republic of Germany is presenting in the Museum Reina Sofia as "German Art", seems to be an offense against common sense.
While other countries continue to work in their search for beauty, insufficient representations by artists such as Rosemarie Trockel are supported and exported abroad by Germany as "great German art".
How was this possible?
Since the end of the War, decadence has become a norm for the arts in Germany, and nobody wants to be aware of the fact that the King is not wearing any garnments.
Even worse it is, that the culture has hardened its understanding of art, unto its own total lack of sensitivity for better values. The public in Germany seems not to notice what is happening, because cultural education has not been cultivated in the last eighty years, so that the culture has systemically and methodically renounced its own right to the enjoyment of any pleasure in beauty and in the experience of something artistic and not related to the self-hate with which the Germans are fed in their saturated post war history. The public has been driven to hate itself and to call their self-hate, "Art".
The result is, a German culture of doom that is seen all over through the visual arts, television and social trends. That decay is seen as "Art", and it is fostered by all forms of government elites in charge of the administration of "Culture". In reality, those people do not have any idea of culture. They may not have even studied culture or become culturally relevant to analyze culture in an intercultural contrast.
But, the German bureaucracy creates its own sources of "management" that in many cases are not related to any educated form of artistic development. In the light of what is seen, it is valid to question, if the German culture may have thus become a giant psychiatric enviroment where not "Art", but trauma is reflected again and again as the main and perhaps sole cultural contribution to society. Not art, but social psychiatrics could then be what is being given to the world as "German Art" today.
Which intellectual elite of the Post-War madness assassinated the Muses?
In today's Germany such pathologies are given out to the public as artists. Goethe, Schiller, Beethoven and all of the German classics should be rolling in their graves; because what is given today to the world as "German Art" is in reality decadent, self-destructive, respectless and shameful garbage.
Despite all of that, the effort is very expensive; as Germany, the tasteless hostess, decides on the aesthetic future of the European Union under zero standards for art appreciation and a full budget to promote its mentally disordered art "performers" as any representation of the German contemporary "art".
The intellectual elite of the post-war period in Germany killed the Art Muses. In this way the decadence in the arts has come to be considered normal.
At the same time, the artists in Germany who do not have German ancestry and who do not relate to the "styles" described above, are masked by contempt. Beauty does not exist in the German bubble, and it may not either be imported.
Academia is trapped
Academically, the Humanities in Germany have landed in their dead end, as the diplomas from other countries are accepted, but not subsequently applied. Foreign credentials may be moved under the carpet, so that the German Academy may continue to wait in peace for their tenured pension claims.
Whoever doesn't do the "art" in the self-hate style of Post War Germany's mea culpa art style, might be easily recognized as non representative of the German art. Only the decadent art, the art producing misery and mediocrity in the formulation, will be promoted and exported as "German art abroad".
Many artists who live in Germany as immigrants do not fit into the German culture, because they do not carry the guilt and the misery that Germany persists representing through its arts and sponsoring on its artists. The immigrant artists are considered exotic, only not "German"; for only madness and self-contempt continues to be seen under the guise of "fine art" promoted as the heritage of Germany for the world.
Narrenfreiheit: Freedom to be Fooled
Rather than maintaining values of aesthetics to be conveyed through the art, after the war Germany has kept making efforts to promote only chaos "artists" such as Nina Hagen, Udo Lindenberg, Klaus Kinski, Joseph Beuys and many others who are caught in the national iconography of suffering as any aesthetic standards to be conveyed.
Consequently, the art of the post-war period in Germany is known as distasteful and irrelevant. But, it is sponsored by the government, because the republic has sufficient money to export the folly.
Creative Non-Germans in Europe
While the immigrant artist in Germany keeps chocking in the silence, a black artist in Sweden relies undisturbed on his freedom of expression, even with the blessing of the Swede policy makers.
A delicious chocolate cake, served in an artistic corelation to the problem of Female Genital Mutilation, baked by a Black with immigrant in Sweden, was received with plenty of publicly and could be enjoyed by all those who love chocolate cake and freedom of expression.
In Sweden, an artist with immigration background does not need to be baptized in the cultural postwar scene of the collective guilt. Everybody can have and maintain his own artistic obsession and depict it. Goal is, not to accept the collective guilt, but to foster the individual artistic freedom.
Every Person should have the right to waive the right-wing radicalism and xenophobia existing in any culture. But, the imposition of self-hate as a requirement for artistic appreciation should be seen as a contradiction of terms with the freedom that art implies; and therefore self-hate should not become an accepted norm in any culture.
By supporting the model of self-hate, the Germans are allowing for misery to become an daily condition where nobody is really happy. The German culture has turned into a burden that the people have to carry. You don't see true joy among the Germans, unless they mumb their senses with alcohol and other legal and illegal drugs. It is a sad culture.
Both the German artists born after the war, as the naturalized immigrants who have no common grounds in the German history of mass extermination, should have the same right to freedom of expression. And, that freedom should include the "German" artists who do not have any historical reasons to identify with the decadent obsession of the German post-war history of hate.
Every German artist, whether an Immigrant or someone born in Germany, should have the right to live his own muse and keep it alive, for the sake of Freedom.