{"id":28703,"date":"2021-12-10T10:36:44","date_gmt":"2021-12-10T09:36:44","guid":{"rendered":"https:\/\/balkon.art\/home\/?p=28703"},"modified":"2023-03-17T17:48:54","modified_gmt":"2023-03-17T16:48:54","slug":"ossztarsadalmi-alkotas","status":"publish","type":"post","link":"https:\/\/balkon.art\/home\/ossztarsadalmi-alkotas\/","title":{"rendered":"\u00d6sszt\u00e1rsadalmi alkot\u00e1s"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-2-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=”” gradient_type=”default”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

Joseph Beuys: M\u00e9zpumpa a munkahelyen<\/em><\/h3>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-1-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Ideologikus mivoltj\u00e1t elrejtve, a normativit\u00e1s \u00e9s a term\u00e9szetess\u00e9g \u00e1lc\u00e1j\u00e1t \u00f6ltve, a kapitalista termel\u00e9s logik\u00e1ja szinte \u00e9szrev\u00e9tlen\u00fcl h\u00e1l\u00f3zza be \u00e9s hat\u00e1rozza meg az \u00e9let valamennyi ter\u00fclet\u00e9t. A politika \u00e9s a kult\u00fara, azok int\u00e9zm\u00e9nyei \u00e9s hatalmi strukt\u00far\u00e1i, de m\u00e9g a t\u00e1rsadalmi kapcsolatok \u00e9s viszonyrendszerek is a kapitalista gazdas\u00e1gi logika ment\u00e9n rendez\u0151dnek. El\u0151sz\u00f6r Karl Marx<\/span> artikul\u00e1lta ezt a jelens\u00e9get az 1859-ben megjelent A politikai gazdas\u00e1gtan b\u00edr\u00e1lat\u00e1hoz<\/em> c\u00edm\u0171 m\u0171v\u00e9nek el\u0151szav\u00e1ban, ahol a t\u00e1rsadalmi fel\u00e9p\u00edtm\u00e9ny<\/em> els\u0151 sz\u00e1m\u00fa meghat\u00e1roz\u00f3j\u00e1nak a gazdas\u00e1gi alap<\/em>ot nevezi meg, vagyis a termel\u0151eszk\u00f6z\u00f6ket, illetve a termel\u00e9si viszonyokat. Marx az ut\u00f3pikus vil\u00e1g\u00e1nak az elj\u00f6vetel\u00e9t a t\u00f6rt\u00e9nelem dialektikus alakul\u00e1s\u00e1ban l\u00e1tta, amelyet a gazdas\u00e1gi alap<\/em> megv\u00e1ltoz(tat)\u00e1sa h\u00edv \u00e9letre.1<\/span><\/p>\n

Joseph Beuys<\/span> \u2013 \u00e9rz\u00e9kelve az alap \u00e9s a fel\u00e9p\u00edtm\u00e9ny k\u00f6z\u00f6tti aszimmetrikus dinamika problematikuss\u00e1g\u00e1t \u2013 m\u0171v\u00e9szeti tev\u00e9kenys\u00e9g\u00e9ben egy radik\u00e1lisan ut\u00f3pikus t\u00e1rsadalmi v\u00edzi\u00f3t k\u00edn\u00e1lt, amely a politika, a gazdas\u00e1g \u00e9s a kult\u00fara szf\u00e9r\u00e1inak totalit\u00e1s\u00e1ban gondolta \u00fajra a fenn\u00e1ll\u00f3 strukt\u00far\u00e1kat. Rudolf Steiner<\/span> h\u00e1romosztat\u00fa t\u00e1rsadalmi rend<\/em> elk\u00e9pzel\u00e9s\u00e9b\u0151l kiindulva Beuys ut\u00f3pikus t\u00e1rsadalm\u00e1nak alapj\u00e1t az egym\u00e1st\u00f3l elk\u00fcl\u00f6n\u00edtett, de egyens\u00falyban l\u00e9v\u0151 h\u00e1rom szf\u00e9ra adta, amelyek a r\u00e9szv\u00e9teli demokr\u00e1cia, a kooperat\u00edv gazdas\u00e1g \u00e9s a f\u00fcggetlen kult\u00fara eszm\u00e9i ment\u00e9n m\u0171k\u00f6dnek. Marxszal ellent\u00e9tben Beuys nem az alap megv\u00e1ltoztat\u00e1s\u00e1ban l\u00e1tta az ut\u00f3pikus t\u00e1rsadalom megval\u00f3s\u00edt\u00e1s\u00e1hoz vezet\u0151 utat, hanem a fel\u00e9p\u00edtm\u00e9ny<\/em>ben. Szabad iskol\u00e1k \u00e9s egyetemek alap\u00edt\u00e1sai \u00e1ltal k\u00edv\u00e1nt kialak\u00edtani egy, az \u00e1llam \u00e9s gazdas\u00e1g hatalm\u00e1t\u00f3l felszabad\u00edtott, f\u00fcggetlen szellemi \u00e9s kultur\u00e1lis \u00e9letet. Az alap fogs\u00e1g\u00e1b\u00f3l megszabadult fel\u00e9p\u00edtm\u00e9ny \u00edgy eszk\u00f6z\u00f6ket \u00e9s utakat k\u00e9pes tal\u00e1lni a demokratikus jogi szf\u00e9r\u00e1ban olyan v\u00e1ltoz\u00e1sok \u00e9letre h\u00edv\u00e1s\u00e1hoz, amelyek \u00fagy gyakorolnak hat\u00e1st a gazdas\u00e1gi \u00e9letre, hogy az kiz\u00e1r\u00f3lag az emberi ig\u00e9nyek kiel\u00e9g\u00edt\u00e9s\u00e9t szolg\u00e1lja \u00e9s ne csak egyre n\u00f6vekv\u0151 fogyaszt\u00f3i ig\u00e9nyeket teremtsen.2<\/span><\/p>\n

Ez az elk\u00e9pzel\u00e9s manifeszt\u00e1l\u00f3dik Joseph Beuys 1977-es, a 6. document\u00e1<\/em>n bemutatott M\u00e9zpumpa a munkahelyen<\/em> (Honigpumpe am Arbeitsplatz, 1974\u20131977) c\u00edm\u0171 \u00f6sszm\u0171v\u00e9szeti alkot\u00e1s\u00e1ban.3<\/span> A m\u0171 egyik fel\u00e9t a Fridericium M\u00fazeumban megrendezett Free International University<\/em> 100 napig tart\u00f3 folyamatos konferenci\u00e1i, kerekasztalbesz\u00e9lget\u00e9sei \u00e9s m\u0171helyei adt\u00e1k, amelyek t\u00e1rsadalmi probl\u00e9m\u00e1k ment\u00e9n szervez\u0151dve azok megvitat\u00e1s\u00e1ra, illetve megold\u00e1s\u00e1ra ir\u00e1nyultak. Mindek\u00f6zben az esem\u00e9nysorozat termeit az \u00f6sszm\u0171v\u00e9szeti alkot\u00e1s m\u00e1sik fele, a m\u00e9zpumpa install\u00e1ci\u00f3j\u00e1nak v\u00e9kony, m\u0171anyag cs\u00f6vei h\u00e1l\u00f3zt\u00e1k be. Az install\u00e1ci\u00f3 k\u00f6z\u00e9ppontj\u00e1ban a sz\u00edvnek megfeleltethet\u0151en k\u00e9t haj\u00f3motor keringetett 2 tonna m\u00e9zet a vertik\u00e1lisan \u00e9s horizont\u00e1lisan egyar\u00e1nt terjeszked\u0151, \u00e9rrendszer-szer\u0171 cs\u0151h\u00e1l\u00f3zatban.<\/p>\n

A M\u00e9zpumpa<\/em> \u00e9rh\u00e1l\u00f3zatra eml\u00e9keztet\u0151 fel\u00e9p\u00edt\u00e9s\u00e9ben Joseph Beuys szoci\u00e1lis organizmus<\/em> gondolata k\u00f6sz\u00f6n vissza. Beuys a t\u00e1rsadalomra mint testre tekintett, amely fiziol\u00f3giai szempontb\u00f3l hierarchiamentesen \u00e9p\u00fcl fel. Hasonl\u00f3an az emberi testhez a szoci\u00e1lis organizmus<\/em> is egy harmonikus egys\u00e9g, m\u00e9gis mint funkcion\u00e1lis rendszer tagoltan \u00edrhat\u00f3 le, \u00e1tfogva a gazdas\u00e1gi, politikai, \u00e9s kultur\u00e1lis szf\u00e9r\u00e1kat.4<\/span> Beuys elk\u00e9pzel\u00e9se szerint a szoci\u00e1lis organizmus form\u00e1l\u00e1s\u00e1ban mindenki demokratikusan r\u00e9szt vehet, ez\u00e1ltal j\u00e1rulva hozz\u00e1 egy j\u00f6v\u0151beli, szabads\u00e1gon alapul\u00f3 strukt\u00fara kialak\u00edt\u00e1s\u00e1hoz, amely a szoci\u00e1lis plasztika<\/em> aktus\u00e1ban \u00f6lt form\u00e1t. A szoci\u00e1lis plasztika kiterjesztetett m\u0171v\u00e9szetfogalma<\/em> az emberi kreativit\u00e1st, vagyis a m\u0171v\u00e9szetet tekintette az igazi t\u00e1rsadalomform\u00e1l\u00f3 er\u0151nek. Elmosva a hat\u00e1rt \u00e9let \u00e9s m\u0171v\u00e9szet k\u00f6z\u00f6tt, az \u00faj m\u0171v\u00e9szet fogalom nem csak a kult\u00fara term\u00e9keire korl\u00e1toz\u00f3dik, hanem mag\u00e1ba foglal minden olyan h\u00e9tk\u00f6znapi cselekedetet \u00e9s munk\u00e1t is, amelyet kreat\u00edvan v\u00e9geznek. Beuys<\/span> totaliz\u00e1l\u00f3 m\u0171v\u00e9szetfelfog\u00e1sa az emberi formaalkot\u00e1s teljes spektrum\u00e1t fel\u00f6leli, legyen sz\u00f3 gondolatokr\u00f3l, besz\u00e9dr\u0151l, t\u00e1rsadalmi interakci\u00f3kr\u00f3l vagy m\u0171alkot\u00e1sr\u00f3l.5<\/span>[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

1<\/p>\n

Karl Marx<\/span> \u00e9s Friedrich Engels<\/span>: A Kommunista P\u00e1rt ki\u00e1ltv\u00e1nya in Marx \u00e9s Engels v\u00e1logatott m\u0171vei<\/em> Els\u0151 k\u00f6tet, Kossuth Kiad\u00f3, Budapest, 1975, 137-164<\/p>\n

2<\/p>\n

Peter Schata:<\/span> Joseph Beuys \/ M\u00e9zpumpa a munkahelyen (documenta 6).<\/em> Ford. by Gy\u0151ri L\u00edvia, Szijj Ferenc, Liget Gal\u00e9ria, Budapest, 2000, ld. http:\/\/www.c3.hu\/~ligal\/258.htm<\/a>
\n(utols\u00f3 bel\u00e9p\u00e9s a sz\u00f6vegben hivatkozott webhelyekre: 2021. november 15.)<\/p>\n

3<\/p>\n

https:\/\/www.documenta.de\/en\/retrospective\/documenta_6#<\/a><\/p>\n

4<\/p>\n

Peter Schata: i.m.<\/p>\n

5<\/p>\n

David Adams:<\/span> From Queen Bee to Social Sculpture. The Artistic Alchemy of Joseph Beuys, in Bees. Lectures by Rudolf Steiner,<\/em> transl. by Thomas Braatz, Antroposophic Press, Gt. Barrington, MA, 1998, 187-215.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-6-0 full-5-25″ advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=”” gradient_type=”default”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”28709″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Joseph Beuys: M\u00e9zpumpa a munkahelyen<\/em> (Honigpumpe am Arbeitsplatz), 1974\u20131977, r\u00e9szlet \u00a9 Fot\u00f3: Halas Istv\u00e1n<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Beuys \u2013 elmond\u00e1sa szerint \u2013 a M\u00e9zpump\u00e1<\/em>val a Free International University alapelv\u00e9nek a t\u00e1rsadalom v\u00e9rkering\u00e9s\u00e9ben val\u00f3 m\u0171k\u00f6d\u00e9s\u00e9t akarta demonstr\u00e1lni. Ennek ok\u00e1n a m\u0171 csak akkor teljes, ha emberek tart\u00f3zkodnak a cs\u00f6vek \u00e1ltal beh\u00e1l\u00f3zott terekben, ahol a szoci\u00e1lis plasztika<\/em> aktus\u00e1val \u00e9lve eszm\u00e9t cser\u00e9lnek, interakci\u00f3ba l\u00e9pnek egym\u00e1ssal. A t\u00f6bbek k\u00f6z\u00f6tt Beuys \u00e1ltal alap\u00edtott Free International University6<\/span> c\u00e9lja \u00e9s feladata a kit\u00e1g\u00edtott m\u0171v\u00e9szetfogalom \u00e9s a mindenkiben megtal\u00e1lhat\u00f3 kreativit\u00e1s<\/em> lehet\u0151s\u00e9gnek a felismer\u00e9se, felt\u00e1r\u00e1sa \u00e9s fejleszt\u00e9se, amelyet a kapitalizmus versenyk\u00e9pess\u00e9gre val\u00f3 orient\u00e1ci\u00f3ja \u00e9s agressz\u00edv sikerhajh\u00e1sz\u00e1sa elrejt.7<\/span> A 6. Documenta<\/em> 100 napos id\u0151tartama alatt rendezett 13 m\u0171helyben olyan \u00e1tfog\u00f3 t\u00e1rsadalmi jelens\u00e9gek k\u00e9rd\u00e9sk\u00f6rei ker\u00fcltek napirendre, amelyek egyar\u00e1nt tematiz\u00e1lt\u00e1k az alap \u00e9s a fel\u00e9p\u00edtm\u00e9ny probl\u00e9m\u00e1it, valamint a k\u00f6z\u00f6tt\u00fck fenn\u00e1ll\u00f3 viszonyt. A Perif\u00e9ria m\u0171hely eset\u00e9ben p\u00e9ld\u00e1ul a vil\u00e1grendszerben centrum, f\u00e9lperif\u00e9ri\u00e1s, illetve perif\u00e9ri\u00e1s poz\u00edci\u00f3t bet\u00f6lt\u0151 orsz\u00e1gok gazdas\u00e1gi f\u00fcgg\u0151s\u00e9gi viszonyai \u00e9s az ebb\u0151l ad\u00f3d\u00f3 egyenl\u0151tlens\u00e9gek ker\u00fcltek a f\u00f3kuszba. A M\u00e9dia m\u0171hely munk\u00e1ja sor\u00e1n t\u00f6bbek k\u00f6z\u00f6tt a multinacion\u00e1lis v\u00e1llalatok h\u00edrk\u00f6zl\u00e9sre gyakorolt hat\u00e1s\u00e1t analiz\u00e1lt\u00e1k, illetve lehet\u0151s\u00e9geket \u00e9s megold\u00e1sokat kerestek az \u00e1llami \u00e9s multinacion\u00e1lis ir\u00e1ny\u00edt\u00e1st\u00f3l mentes, f\u00fcggetlen k\u00f6zm\u00e9di\u00e1k fejl\u0151d\u00e9s\u00e9hez, m\u0171k\u00f6dtet\u00e9s\u00e9re. Mindezek mellett a nukle\u00e1ris energia \u00e9s alternat\u00edv\u00e1i, a k\u00f6z\u00f6ss\u00e9g szervez\u00e9s, illetve a munka \u00e9s munkan\u00e9lk\u00fclis\u00e9g t\u00e9m\u00e1i is ter\u00edt\u00e9kre ker\u00fcltek a t\u00f6bbi m\u0171helyen. A z\u00e1r\u00f3, 13. m\u0171helyen pedig \u00f6sszegz\u00e9sre ker\u00fclt az elm\u00falt 100 napban megtermelt tud\u00e1s \u00e9s a k\u00fcl\u00f6nb\u00f6z\u0151 m\u0171helyek dinamik\u00e1i is. Ezeken az esem\u00e9nyeken az adott k\u00e9rd\u00e9sk\u00f6r szak\u00e9rt\u0151i, sz\u00e1mos politikus \u00e9s aktivista a document\u00e1<\/em>n r\u00e9sztvev\u0151 k\u00f6z\u00f6ns\u00e9ggel egy\u00fctt vitatt\u00e1k meg a felmer\u00fcl\u0151 k\u00e9rd\u00e9seket a r\u00e9szv\u00e9telis\u00e9g nev\u00e9ben, ez\u00e1ltal kihatva a szoci\u00e1lis organizmus<\/em>ra, ahogyan a m\u0171helyeken megtermelt tud\u00e1s v\u00e1ltoz\u00e1st gyakorol ak\u00e1r egy\u00e9ni, ak\u00e1r t\u00e1rsadalmi szinten.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

6<\/p>\n

Joseph Beuys<\/span> Heinrich B\u00f6ll<\/span>-lel, Klaus Staeck<\/span>kel \u00e9s m\u00e1sokkal k\u00f6z\u00f6sen 1973-ban alap\u00edtotta meg a Free International University for Creativity and Interdisciplinary Research elnevez\u00e9s\u0171 szabad egyetemet, amelynek els\u0151 nagy nyilv\u00e1nos esem\u00e9ny\u00e9re 1977-ben, a 6. document\u00e1n ker\u00fclt sor.<\/p>\n

7<\/p>\n

Caroline Tisdall:<\/span> Permanent Conference in Joseph Beuys,<\/em> Tames and Hudson, New York, 1979, 265-282.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-6-0 full-5-25″ advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=”” gradient_type=”default”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”28712″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Joseph Beuys, Peter Schata, ill. a gyermek\u00e9t tart\u00f3 anyuka mellett, Caroline Tisdall, \u00e9s Shelley Sacks \u00a9 Fot\u00f3: Halas Istv\u00e1n<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]A Free International University tud\u00e1stermel\u00e9se \u00e9s szellemi munk\u00e1ja r\u00e9v\u00e9n l\u00e1that\u00f3v\u00e1 v\u00e1lik a kit\u00e1g\u00edtott m\u0171v\u00e9szetfogalom hat\u00e1sa \u00e9s \u00e9rtelmet nyer a m\u0171 c\u00edm\u00e9ben szerepl\u0151 munkahely jelent\u00e9se is. Beuys az emberi kreativit\u00e1st \u00e9s teremt\u0151k\u00e9pess\u00e9g\u00e9t nevezte meg az \u00f6kon\u00f3mia legelemibb erej\u00e9nek, a gazdas\u00e1g igazi t\u0151k\u00e9j\u00e9nek. A gazdas\u00e1g dimenzi\u00f3j\u00e1t m\u0171v\u00e9szet\u00e9be inkorpor\u00e1lva Beuys egyben ki is t\u00e1g\u00edtja annak keret\u00e9t. A gazdas\u00e1g szf\u00e9r\u00e1j\u00e1t, amely alatt els\u0151sorban az ipari termel\u00e9st \u00e9s a financi\u00e1lis szektort szok\u00e1s \u00e9rteni, Beuys m\u0171v\u00e9szetfelfog\u00e1sa kit\u00e1g\u00edtotta: a kultur\u00e1lis \u00e9letben \u00e9s egy\u00e9b ter\u00fcleteken v\u00e9gzett munk\u00e1k, amelyek nem kimondottan profit\u00e1bilisek is ide soroland\u00f3ak. Ennek f\u00e9ny\u00e9ben Beuys \u00fajra\u00edrja az addig haszn\u00e1latos t\u0151kefogalmat, amely kiz\u00e1r\u00f3lag a gazdas\u00e1gi folyamatok materi\u00e1lis r\u00e9sz\u00e9t ragadta meg.<\/p>\n

A kreativit\u00e1sra alapozott, \u00faj t\u0151kefogalom k\u00e9pezi Joseph Beuys \u00e9s Johannes St\u00fcttgen<\/span>8<\/span> k\u00f6z\u00f6s, alternat\u00edv gazdas\u00e1gi m\u0171k\u00f6d\u00e9s\u00e9nek \u00e9s p\u00e9nzfogalm\u00e1nak a kiindul\u00e1si pontj\u00e1t.9<\/span> Beuys kit\u00e1g\u00edtott m\u0171v\u00e9szetfogalm\u00e1t k\u00f6vetve az \u00faj j\u00f6vedelemrendszer alapj\u00e1t nem a munka \u00e9rt\u00e9ke hat\u00e1rozn\u00e1 meg, hanem a minden emberben ott lakoz\u00f3 kreativit\u00e1si potenci\u00e1l. A szoci\u00e1lis organizmus<\/em> anal\u00f3gi\u00e1j\u00e1ra fel\u00e9p\u00edtett gazdas\u00e1gi m\u0171k\u00f6d\u00e9s v\u00e9rkering\u00e9s\u00e9t a termel\u00e9s \u00e9s fogyaszt\u00e1s k\u00f6z\u00f6tti p\u00e9nz \u00e9s az \u00e1ru k\u00f6rforg\u00e1sa szolg\u00e1ltatja. Lev\u00e1lasztva egym\u00e1sr\u00f3l a termel\u00e9st \u00e9s a b\u00e9rez\u00e9st, a k\u00f6z\u00f6tt\u00fck t\u00f6rt\u00e9n\u0151 p\u00e9nz \u00e1raml\u00e1s\u00e1t a szoci\u00e1lis organizmus sz\u00edvfunkci\u00f3j\u00e1t bet\u00f6lt\u0151 K\u00f6zponti Bank biztos\u00edtan\u00e1. A termel\u00e9s\u00e9rt j\u00e1r\u00f3 j\u00f6vedelmet a K\u00f6zponti Bank demokratikus szab\u00e1lyoz\u00e1sok alapj\u00e1n j\u00f6vedelem<\/em>k\u00e9nt osztan\u00e1 sz\u00e9t a v\u00e1llalkoz\u00e1sokban vagy sz\u00f6vetkezetekben egy\u00fcttm\u0171k\u00f6d\u0151k k\u00f6z\u00f6tt. \u00cdgy v\u00e1lik meghaladhat\u00f3v\u00e1 a b\u00e9rmunka fogalma, mivel Beuys szerint a j\u00f6vedelem mint alapvet\u0151 emberi jog<\/em> mindenkit egyar\u00e1nt megillet. A bevezet\u00e9sre ker\u00fcl\u0151 \u00faj p\u00e9nz egy gazdas\u00e1gi \u00e9rt\u00e9k n\u00e9lk\u00fcli jogi dokumentumm\u00e1 v\u00e1lna, amely a j\u00f6vedelem k\u00e9zhez v\u00e9tele ut\u00e1n \u201efogyaszt\u00f3i t\u0151kek\u00e9nt\u201d az egy\u00e9n fogyaszt\u00f3i \u00e9s egzisztenci\u00e1lis ig\u00e9nyeinek kiszolg\u00e1l\u00e1s\u00e1t biztos\u00edtan\u00e1. \u00c1rucsere ut\u00e1n a felhaszn\u00e1lt p\u00e9nz mint \u00e9rt\u00e9k\u00e9t vesztett jogi dokumentum \u00e1ramolna vissza a K\u00f6zponti Bankba, ez\u00e1ltal beteljes\u00edtve a k\u00f6rforg\u00e1st. Ez az \u00faj rendszer megsz\u0171ntetn\u00e9 a b\u00e9rmunk\u00e1t, a termel\u0151helyi tulajdont \u00e9s az ebb\u0151l k\u00f6vetkez\u0151 kizs\u00e1km\u00e1nyol\u00e1st. Ebb\u0151l k\u00f6vetkezve felsz\u00e1moln\u00e1 a termel\u0151eszk\u00f6z\u00f6k mint tulajdon \u00e9s hatalmi eszk\u00f6z felhalmoz\u00e1s\u00e1t.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

8<\/p>\n

Johannes St\u00fcttgen<\/span> (1945), n\u00e9met k\u00e9pz\u0151m\u0171v\u00e9sz \u00e9s tan\u00e1r a d\u00fcsseldorfi K\u00e9pz\u0151m\u0171v\u00e9szeti Akad\u00e9mi\u00e1n tanult, ahol Joseph Beuys volt a tan\u00e1ra.<\/p>\n

9<\/p>\n

Caroline Tisdall:<\/span> Honey Pump in Joseph Beuys,<\/em> Thames and Hudson, New York, 1979, 254-264<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-6-0 full-5-25″ advanced_gradient_angle=”0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=”” gradient_type=”default”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”28714″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Joseph Beuys, Kassel, 1977 \u00a9 Fot\u00f3: Halas Istv\u00e1n<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]1979-ben, 2 \u00e9vvel a M\u00e9zpumpa a munkahelyen<\/em> bemutat\u00e1sa ut\u00e1n jelent meg Pierre Bourdieu,<\/span> francia szociol\u00f3gus La Distinction: Critique sociale du jugement<\/em> c\u00edm\u0171 k\u00f6nyve,10<\/span> amely a gazdas\u00e1g \u00e9s szociol\u00f3gia ter\u00fclet\u00e9n haszn\u00e1lt marxi t\u0151keelm\u00e9letet t\u00e1g\u00edtja tov\u00e1bb. A Bourdieu \u00e1ltal kijel\u00f6lt \u00faj t\u0151kekateg\u00f3ri\u00e1k; a kultur\u00e1lis, szoci\u00e1lis \u00e9s szimbolikus<\/em> t\u0151k\u00e9k. Az \u00faj t\u0151keelm\u00e9let kit\u00e1g\u00edtva a kapitalizmus \u00e9rtelmez\u00e9sihorizontj\u00e1t tot\u00e1lisabb k\u00e9pet ny\u00fajt a gazdas\u00e1gi racionalizmus szemsz\u00f6g\u00e9b\u0151l \u00e9rtelmetlennek vagy jelent\u00e9ktelennek t\u0171n\u0151 cselekedetek megragad\u00e1s\u00e1hoz. Noha Beuys eset\u00e9ben a kreativit\u00e1son nyugv\u00f3 t\u0151kefogalom nem a szociol\u00f3gia empirikus talaj\u00e1b\u00f3l sarjadt, hanem saj\u00e1t m\u0171v\u00e9szet\u00e9ben k\u00f6rvonalaz\u00f3dott, teoretikus szinten m\u00e9gis ugyanolyan t\u00e1vlatokba \u00e9r el. Az alapnak a fel\u00e9p\u00edtm\u00e9nyb\u0151l t\u00f6rt\u00e9n\u0151 megv\u00e1ltoztat\u00e1s\u00e1hoz a fel\u00e9p\u00edtm\u00e9nyt is meg kell v\u00e1ltoztatni, ahogyan Beuys megk\u00eds\u00e9relte a fel\u00e9p\u00edtm\u00e9nyr\u0151l val\u00f3 gondolkod\u00e1st \u00e1tform\u00e1lni. A M\u00e9zpumpa a munkahelyen<\/em> \u00e9s az azt k\u00f6r\u00fcl\u00f6lel\u0151 gondolatvil\u00e1g Joseph Beuys m\u0171v\u00e9szet\u00e9n kereszt\u00fcl egy \u00faj, tot\u00e1lisabb megk\u00f6zel\u00edt\u00e9st k\u00edn\u00e1l a t\u00e1rsadalmi fel\u00e9p\u00edtm\u00e9ny<\/em>r\u0151l val\u00f3 gondolkod\u00e1shoz \u00e9s az annak megv\u00e1ltoztat\u00e1s\u00e1hoz sz\u00fcks\u00e9ges \u00e1gencia meg\u00e9rt\u00e9s\u00e9hez. Beuys gondolkod\u00e1s\u00e1ban a kollektivit\u00e1shoz az \u00fat az indiv\u00eddum forradalmas\u00edt\u00e1s\u00e1n<\/em> kereszt\u00fcl vezet. A tudat felszabad\u00edt\u00e1s\u00e1hoz sz\u00fcks\u00e9gszer\u0171 az a radik\u00e1lisan egalit\u00e1rius elgondol\u00e1s, miszerint minden ember azonos potenci\u00e1llal rendelkezik, amelynek kibontakoz\u00e1s\u00e1t csak a gazdas\u00e1gi \u00e9s t\u00e1rsadalmi k\u00f6r\u00fclm\u00e9nyek befoly\u00e1solj\u00e1k.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

10<\/p>\n

Pierre Bourdieu:<\/span> La Distinction: Critique sociale du jugement.<\/em> Les Editions de Minuit,
\nParis, 1979. Angolul (Distinction: A Social Critique of the Judgement of Taste,<\/em> transl. by Richard Nice, Harvard University Press Cambridge, Massachusetts, 1984) ld. https:\/\/monoskop.org\/images\/e\/ e0\/Pierre_Bourdieu_Distinction_A_ Social_Critique_of_the_Judgement _of_Taste_1984.pdf<\/a>[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” vertically_center_columns=”true” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-2-0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”]

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