THE EXPERTISE OF NON-EXPERTS
OUBEYs works were uncharted territory at the time of his death. Neither an art expert nor another artist nor anybody else had ever commented on them – not even OUBEY himself. He never offered any explanations of his work.
So when I was faced with the task of bringing his hitherto unknown legacy into the light of public attention, I was faced with rather a sticky situation because on the one hand I certainly didn’t want to fall into the role of becoming the one who – because of having some privileged access to his art – awakening the impression that I held the right keys to its interpretation. Yet on the other hand, naturally, I wanted to act in a way that OUBEY would have approved of and I wanted to remain faithful to his spirit. In short, I wasn’t the slightest interested in furnishing explanations. What did keenly interest me though was how I could succeed in placing his pictures in a high-quality process of discovery from a manifold variety of alluring perspectives. Would the opinions held by an art expert or another artist be conducive to such a process?
My considered response to this question is NO! What I did do was to travel with his paintings to meet people whose professional lives were concerned with dealing with much the same themes and issues as OUBEY: astronomers, astrophysicists, biologists, mathematicians, quantum and complexity researchers, musicians, philosophers, and composers. Throughout his life OUBEY had always engaged with the findings of these disciplines on a very high level. And as these encounters progressed I came to realize how right I had been in my decision to take this particular course.
An unfiltered experience of art
“I have to warn you. I know absolutely nothing about art” – this was often the first thing people said as they prepared themselves to encounter an unknown work of OUBEYs in front of a running camera. And in each and every case my honest answer was always the same, “That’s great. This is exactly the reason why I’m with you here today with this painting.”
“The sense of immediacy is the decisive factor for my paintings“ OUBEY once said. Immediacy springs from the direct unfiltered emotional encounter between the painting and its viewer. This is exactly the hallmark of the “Encounters“ with OUBEY, that can be seen online as a video documentary. They show an exceptionally broad and enormously variegated spectrum of insightful and spontaneous resonance – free of any of the claims and pretensions of art expertise.
Music has a different way of working
When we talk about art, we mainly think of painting. However, let’s think about music, for instance, and the myriad possibilities people now have of listening to music whenever they want and as often as they want. This doesn’t work with painting. I can certainly look at paintings in my home or online or as illustrations in a book on art – yet it’s pretty difficult for me to do so whilst riding a bike or walking or taking part in some other activity, all of which are situations where it’s perfectly possible to listen to music.
Music reaches people in a much more direct and simple way than any other form of art. This doesn’t just apply to music delivered by media: live concerts have their own particular quality and emotional dynamics which are worlds apart from those of an art exhibition. Yet the music business too naturally has the filter function of expertise which is similar to the art expertise of art experts in galleries or on the art market.
Even so, ever since people have been able to post their own musical presentations online on YouTube, a type of freedom has been established, a type of democratization that was unknown just a few years back. Everybody can upload, everybody can download. Views, likes, shares and downloads are expressions of immediate reactions to things heard or seen by a broad worldwide audience.
Obviously you could now object that all this is nothing more than just “the tastes of the masses”. Yet you might do well to remind yourself that behind every single one of these reactions stands an individual who likes or doesn’t like what they hear or see. This is indeed not at all easy to transfer over to painting. Yet the experiences I have made so far in using the internet to broadcast OUBEYs art have only strengthened me in my resolve to continue using this exceptional and innovative conduit and to gradually broaden the resonance space thus created.
In art, emotion is a really good point of entry
Sure, it’s something fine and important when art experts voice their opinion on works of art. Yet it’s equally fine and important that you first form your own opinion. This makes it all the more interesting when you subsequently listen to what the experts have to say and can compare their opinion with your own. And often enough, we shouldn’t forget, different experts can have wildly differing opinions on the same art work.
This is why I find it good that people going to museums first take the time and freedom to contemplate the exhibits and then ask themselves “What kind of thoughts and feelings does this picture trigger in me? What do I personally read and see in this picture?” Because no matter what kind of intellectual considerations may play a role in such a process, it’s first and foremost always an emotional reaction that connects us to a work of art.