KONTAKT

KLAUS BÖTTGER ( Boettger )
Erotic drawings

Automatic translation by Google

PREFACES TO A EROTI ART

FOR EXAMPLE landscape and Portraitmalerei, still lives and religious representations do not have it necessarily to justify or defend their motives. Differently the erotische art in such a way specified. May the human body, in particular illustrated its genital zone, be represented may sexual document? Doesn't this range belong to the most personal, intimate sphere of humans, who are to be placed neither to an anonymous viewer nor at all to the schau? These questions, partly aggressively placed and partly naively. They must be taken seriously, even if they remain without direct answer.

A nature form of humans, quasi a game form, one homo ferus, never gave it. Where humans in the evolution arise, it is always already more than pure nature nature, is at the same time culture nature. Cultural arrangements vary its appearance and its behavior crosswise by the times and space. Affected by the change the attitudes to the sexualitaet are completely obvious. A world history of the sexualitaet shows those variety of the behavior patterns, shows the moral and the taboos, which are to works. Only, a time without samples, moral and taboo does not completely become anywhere visible. That was the mistake of the Postulats of progressive Sexualaufklaerer of the 60's-years, sexual actions is so natural and as natural as a drinking of a glass water. Foreseen of it that also the forms of drinking are culture dependent, straight this natural, not-standardized sexualitaet does not give it. Who as a poet or artist in things sexualitaet hurts the valid in each case standards, who does not keep the moral, who breaks taboos, whose work called obszoen or pornographisch. Who selects erotische topics to the Sujet, is permanent in danger to exceed borders toward Obszoenitaet and Pornographie.

WHICH these terms natural mean preserve numerous and completely different definitions forwards, depending on, when and where and by whom one defined. Which before somewhat more as still unterm counter or than limit, expensive pressure had being sold to one decade, today paperback for everyone is accessible in the good-civil book club or approves of. Art, which was sekretiert in the poison cabinets of the galleries and museums, puts out in ladengeschaeften publicly. Obszoene and pornographische art are not to be determined here, not weighed out against each other already at all; also it is to remain open whether obszoenpomographische art is not a contradiction in itself. Lawyers are now and then forced to determine borders: Obszoenitaet and Pornographie provoked Aphrodisiaca at and on to sexual actions, are Stimulantia. If this and only this result from the representing, if not higher intentions, kuenstle rische, aesthetic in the play are, then the tolerance must remain malfunctioned. Even if ErotischSexuelles too exclusively or too realistically or too points or arrives by-verse-pathologically at the representation, borders of the moral are exceeded. But are starting from when and for whom sexual stimulus given? Where does the higher, sublimere, aesthetic level begin? What ranks among the Sexualpathologie and which not? Are gynaekologischurologische illustrations of the genital sphere already in medical specialized books in the field of the Obszoenen, or are this realism beyond of property and bad? Which specific kind of realism is present in works the Klaus Boettgers? How does its erotische picture world look?

First of all: the pictures do not come of to the sphere of the Sexualpathologie; Bio negative, Perverses does not take place anywhere. This only as Vorausfeststellung, not as denunziation of art and artists, which can be assigned this world. From today's view, excluded pruederistische attitudes, "normal" sexual actions represented, focused predominantly on the genital range, very realistic-detail-faithfully, however not in photo or hyper+realistic manners. If necessary small portions are worked photographically accurately, the remaining dissolve in vague Schemen or in sketchy suggestions are continued. The anatomical correctness might be correct in each case and precisely given, even if from the overall view more and other one become, than the illustrated page of a medical Atlas.

SOME pictures lead to the question about a fantastic realism. Parts of the body seats not in the correct place, member masses implement movements at fictitious organs, require the contentwise identification by the viewer. This representation method remains however limited to the initial phase Boettgers of artistic work. In each case center of the 60's-years was appropriate everywhere a metaphysische, fantastic, magic, symbolic kind of realism in air, particularly with many for that at that time "young artists", who itself later) into completely different directions developed further. With Klaus Boettger is perhaps still a little remained of it in the choice of the Accessoires, which are in addition-given to the body pictures. This lnterpretation is probably however already too designed, because probably a mausefalle preferential accessories of the erotischen motives can be understood as symbol, remains however nevertheless in the combination with genital, koitalen scenes too vordergruendig, too clear-trivially, gives too little ago for a painting, which wanted to understand itself symbolically. Also into the other articles, like expressed farbtuben, begun to cut and dried up apples, teebeutel etc. not too much should be inserted in connection with the sexual picture content. It concerns rather arbitrary, too due objects present in the studio, which are taken up over their graphic attraction and around the total composition of the picture because of. A similar function also the castings of stamps have and india ink tuscheglaesern, drawing in geometrical lines and figures, the organization of the signature, numbering and calling and finally bringing in writing and text at all.

Here it could seem for one moment, as if the work in the sense of a critical realism was to be understood. There for example a passage from a clearing-up book concerning Koituspositionen is noted: "She might he bakes with ago head down more over the edge OF the bed and ago legs spread wide more over his knee and thighs. This wants raise ago and expose ago chtoris more thoroughly ton his manipulation. He CAN take his penis in hand and INSERT it easily into ago and have A free hand ton rub ago chtoris. . Isn't the reduction Eroti to bare genital technology to be unmasked here? Or, where from a relevant mail-order catalog sexual aids in picture, text and price are quoted, sexualitaet is not reduced there to the marketed commodity? Klaus Boettger protested against it, does not operate no critical clearing-up; a commitment is not to be felt, if necessary little irony. But indistinctly, like at all all Karikierende, exaggerating remains or

Ridiculous-making as means of emancipatory intentions completely is missing. Besides the texts always remain in the background; they are with difficulty to decipher, partially fremdsprachig, partially illegibly and in the lithographies naturally inversly. Cognitive effects are not intended also not, where quotations from the world literature, for example of verses of Rimbaud or Neruda arrive in the picture.

FROM Stilisti as from the contentwise one perhaps still the impression could develop, as if at the end one only if also skillful, remains salon painting. Many reasons speak against it: the clarity, the excludingness, the Monomane of the topic; the sketchy, fragmentary one, Torsohafte of the figures; the choice of the material, for example wrapping paper, used envelopes, crumpled and punched sheets; the technology of the Verfremdens with smearing, Verklecksungen, crossing out etc., all of this together does not let a superficially beautiful, generally obliging/pleasing, sentimentally luesterne, erotisch affectful painting develop. On the other hand this picture world is to interpret as evenly suggested rating neither fantastic-symbolically nor kritischaufklaererisch still than photo-realistic illustration of human sexualitaet to see. It concerns a representation of erotischsexueller topic, which is not to be assigned to one of the usual traditions, directions and plates, rather around a work, which its own and independent Gepraege has. Still something is to be followed to this characteristic and uniqueness. The key to their is looked for in discussions to the Erosbegriff and its surrounding field.

SIGMUND FREUD, frequently and falsely as Pansexualist apostrophiert, added an opponent, the death impulse in the late work of its impulse teachings the Eros. This dualism of life and death impulse shows up still archaischer at the mythischen shapes of the antiquity, Eros and Thanatos. Eros, which is probably in the arts at the most frequent and most beautiful represented God, symbol of those Urkraft, which hold together, to each other pull and unite all living person; it represents the power, which binds humans individually in Sexus and love, in the body and in the spirit, donates in addition, collective mankind inheritance, life-donating and raising works, all luck and beautiful one added. Thanatos against it means, its Greek sense of word after, death, murder, execution, body. It symbolizes the forces of the destruction, the hate, the dissolution, the brutality, the war, both in individual humans and within the interhuman range. The goal of the Eros is luckful connection, that of the Thanatos cruel Destruktion. A dualism of irreconcilable impulses, which direct the fate of the particular and mankind equally. In order to live as a single human being the life human to survive as well as as a mankind collective altogether it applies, to erwehren itself the Thanatos and in addition it requires a predominance of the Eros. In the long run only it is alone able to actually draw the dangerous and destructive forces of its opponent to moderate to bind.
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Dr. Walter Sauer

Original Version

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