Jörg Immendorff (1945-2007) is one of the most influential artists of the 20th Century to emerge from post-war Germany, known for a body of work that challenged both artistic and political establishments.

Immendorff's work remains deeply relevant today and exemplifies how art (and the role of the artist) can be used to engage with and confront both society and politics.

He began his formal artistic training at the Kunstakademie Düsseldorf and in 1964 Immendorff was admitted into the class of Joseph Beuys, then the most important artist working in Germany and a figure of profound influence for an entire generation of German artists. Immendorff's relationship with Beuys marked the beginning of an intensely productive period for the young artist, who was deeply affected by the Beuysian notion that art can and should play a wider role in society. Joseph Beuys was a dynamic and polarizing figure who inspired Immendorff to challenge the traditions of fine art and the art academy. In 1966, Immendorff painted the words “Hört auf zu malen” (“Stop Painting”) on a canvas; it was a major turning point in the artist’s early work and philosophy. “With this picture,” he explained later, “I wanted to express my unease about a type of painting that is hermetic and does not take up any position in relation to external problems.” Inspired by Immendorff and featuring his work, an exhibition titled “Stop Painting” is currently on view at the Fondazione Prada, Venice.

“On 31 January 1968 at three in the afternoon, Immendorff wandered up and down in front of the Parliament Building in Bonn. Attached to his left leg was a wooden block painted in the national colors of black, red, and gold, and carrying the word LIDL. This performance attracted the police to the scene. They arrived after half an hour and confiscated the block. Their reason was that as the block was dragging on the ground, the national colors were being rubbed off; this amounted to an insult to the national flag. After the police had left, Immendorff took a second block, tied it around his neck, carried on with his walk, and this time was not interfered with. With this action the artist in isolation had left the context of art and had claimed the street as another field of action. A consequence of this was an interrogation by the police but the case was not pursued because a defamation of the Federal Republic was not judged to have taken place.”

– Harald Szeemann, THE LONG MARCH OR INCITEMENTS OF THE TIMES: A COMPILATION, Modern Art Oxford, 1982

Translation (left panel):

Here and Now:

The progressive bourgeoisie and petite bourgeoisie cultural workers today can already do what needs to be done: focus on representing the real life of the common people -- denounce the anti-people politics of the bourgeoisie and show the day-to-day class struggle.

But they will achieve only little should they not decide to unswervingly support the struggle of the proletariat -- as allies here and now -- in all practical matters.

(from Rote Presse Correspondence Nr. 174 June 30 1972)