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Hans Haacke Wir (Alle) Sind Das Volk We (all) Are The People iconic Hans Haacke poster print2017
2017
$1,000
£764.82
€875.27
CA$1,423.27
A$1,540.99
CHF 819.27
MX$18,585.42
NOK 10,302.84
SEK 9,605.18
DKK 6,537.13
About the Item
HANS HAACKE
Wir (Alle) Sind Das Volk—We (all) Are The People
Color offset Lithograph on thin board
LARGE: 36 × 24 inches
Unframed
This striking poster was created by Hans Haacke for Documenta in 2017-2018. For Documenta 14, Haacke created five large banners of this work, along with thousands of posters like this one which were put up in public spaces throughout Kassel. In an interesting review in Art in Paper, Hans Haacke’s Proofs of Commitment, from Volume 7, Number 3, John Tyson writes of this work:
"...His current project for Documenta 14, Wir (alle) sind das Volk—We (all) are the people (2017), fills advertising spaces in Athens, Greece, and Kassel, Germany, with posters on which the title phrase is repeated in 12 different languages, from German and English to Kurdish and Berber, bordered by a rainbow roll.32 What could be read initially as a “feel-good” celebration of diversity is actually more complex and layered.33 The slogan is an amended version of the rallying cry “Wir sind das Volk” (We are the people) used in the 1989–90 protests that help bring down the East German state, but that same slogan has been adopted more recently by the right wing, anti-immigrant PEGIDA movement. The word “Volk” itself bears uncomfortable associations with Nazism and a belief in ethnic superiority. Once again, he seems to draw lessons from Brecht’s “Writing the Truth,” which addresses the question of people versus population. Haacke conjures these historical meanings and also proposes new inflections of “Volk.” His posters come at a time when the accommodation of refugees from Syria, Iraq and Afghanistan has divided voters throughout Europe and North America, with Germany taking far more than any other nation. Haacke repurposes historically charged language to reckon with the reality that the distinction between citizen and refugee is imposed by circumstance and is mutable—an acknowledgment that leads to practical questions of who should be able to freely enter and access rights within the nation state. Implicit in his selection of languages is an address to people on both sides of this divide, and an attempt to disrupt the monolingualism that often serves nationalism..."
These posters were printed in different sizes and posted in public places throughout the world. They are now collectors items. Note the size of the present work.
Hans Haacke is known for his multimedia works with sharply critical social and political overtones—some of which have been subject to censorship and even public defamation. Perhaps his most iconic work was Germania, his 1993 installation at the German pavilion of the Venice Biennale that made explicit reference to Nazi-era politics. Other works engage with topics like the shady dealings of real estate tycoons, the economic consequences of German reunification, the activities of multinational corporations. His process and materials are perpetually changing, perhaps as a result of his lifelong aversion to the idea of “style” and “personal expression.” Though Haacke is commonly considered a conceptual artist, he fails to see his own work that way—instead, he thinks of his practice as one that does not deal in objects but intellectual provocation.
More about Hans Haacke
For six decades, Hans Haacke (b. 1936, Cologne, Germany) has been a pioneer in kinetic art, environmental art, Conceptual art, and institutional critique. He has had one-person exhibitions at the New Museum, New York (2019, 1986); Museo Nacional Centro de Arte Reina Sofía, Madrid (2012); MIT List Visual Arts Center, Cambridge, MA (2011, 1967); X Initiative, New York (2009); Generali Foundation, Vienna (2001); Serpentine Gallery, London (2001); Museum Boijmans Van Beuningen, Rotterdam (1996); Fundació Antoni Tàpies, Barcelona (1995); Centre Pompidou, Paris (1989); Tate London (1984); Renaissance Society, Chicago (1979); Stedelijk Van Abbemuseum, Eindhoven (1979); Modern Art Oxford, UK (1978); and Frankfurter Kunstverein, Frankfurt (1976), among others. He has participated in international exhibitions including documenta, Kassel (2017, 1997, 1987, 1982, 1972); Lyon Biennial (2017); Venice Biennale (2015, 2009, 1993, 1976); Liverpool Biennial (2014); Mercosul Biennial (2013); Sharjah Biennial (2011); Gwangju Biennale (2008); Whitney Biennial, New York (2000); Skulptur Projekte Münster (1997, 1987); Johannesburg Biennial (1997); Sydney Biennial (1990, 1984); São Paulo Biennial (1985); and Tokyo Biennial (1970). He won the prestigious Golden Lion (shared with Nam June Paik) at the Venice Biennale in 1993. Haacke has lived and worked in New York since 1965.
-Courtesy Paula Cooper Gallery
- Creator:Hans Haacke (1936, German, American)
- Creation Year:2017
- Dimensions:Height: 36 in (91.44 cm)Width: 24 in (60.96 cm)
- Medium:
- Movement Style:
- Period:
- Condition:Excellent condition; unframed.
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1745217121342
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