Monika Sprüth on Kraftwerk
monika-sprueth-on-kraftwerk
November 25, 2012
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# Monika Sprüth on Kraftwerk
There's really one central question at our galleristic point of
departure: Which aspects of art could be of cultural importance for
society? I'm a trained architect and urban planner, so the constant
analysis of cultural, social and economical phenomena has always played
a role in what I do. When **Philomene Magers** and I began thinking
about **Kraftwerk**, we very quickly realized that "exhibiting" the band
was far too large a project for a gallery space. I've known **Ralf
Hütter** since 1968---he actually lived in the apartment under me in
Aachen where we both studied architecture.
Of course today, representing them has to do with their colossal
cultural relevance and unsurpassed ability to reduce sonic and visual
elements to the essentials. Like **Alighiero Boetti**, Kraftwerk are
able to differentiate between important and unimportant in a way that
few artists can---which is an important part why their work has become
so iconic. It became clear to us that a museum is really the only
adequate place to present their Gesamtkunstwerk. And where better than
the MoMA?
Kraftwerk not only invented electronic pop music, they also managed to
give it its visual precision and beautiful form. Theirs is an
all-encompassing cultural statement that can compete or even surpass
many of the known video works that we see in the museums. It's both
timelessly modern and an embodiment of our era.~ Photo: Dagmar Schwelle
Earlier this year we where reporting from the Kraftwerk *Retrospective 1
2 3 4 5 6 7 8* at New York's MoMa, where we collected a lot of
interesting takes on the legendary techno innovators from the likes of
Juan Atkins, Afrika Bambaataa, Klaus Biesenbach and more --- read them
[here][1]{: target="_blank"}. ~
--
*This text [appeared first][2] in [Electronic Beats Magazine][3] N° 30
(2012). Read the [full issue on issuu.com][4]:*
[1]: http://www.electronicbeats.net/tag/kraftwerk-2013/ "Kraftwerk 2013"
[2]: http://issuu.com/eb_magazine/docs/ebmag_30/80
[3]: http://www.electronicbeats.net/category/eb-magazine/
[4]: http://issuu.com/eb_magazine/docs/ebmag_30
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title: 'Monika Sprüth on Kraftwerk'
date: 2012-11-26T00:01:26+01:00
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slug: monika-sprueth-on-kraftwerk
teaser_image: legacy/monika-sprueth-on-kraftwerk/Monika-Sprüth-Kraftwerk-electronic-beats-e1353692528679.jpg
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<p>There’s really one central question at our galleristic point of departure: Which aspects of art could be of cultural importance for society? I’m a trained architect and urban planner, so the constant analysis of cultural, social and economical phenomena has always played a role in what I do. When <strong>Philomene Magers</strong> and I began thinking about <strong>Kraftwerk</strong>, we very quickly realized that “exhibiting” the band was far too large a project for a gallery space. I’ve known <strong>Ralf Hütter</strong> since 1968—he actually lived in the apartment under me in Aachen where we both studied architecture.</p><p>Of course today, representing them has to do with their colossal cultural relevance and unsurpassed ability to reduce sonic and visual elements to the essentials. Like <strong>Alighiero Boetti</strong>, Kraftwerk are able to differentiate between important and unimportant in a way that few artists can—which is an important part why their work has become so iconic. It became clear to us that a museum is really the only adequate place to present their Gesamtkunstwerk. And where better than the MoMA?</p><p>Kraftwerk not only invented electronic pop music, they also managed to give it its visual precision and beautiful form. Theirs is an all-encompassing cultural statement that can compete or even surpass many of the known video works that we see in the museums. It’s both timelessly modern and an embodiment of our era.~ Photo: Dagmar Schwelle</p><p>Earlier this year we where reporting from the Kraftwerk <em>Retrospective 1 2 3 4 5 6 7 8</em> at New York’s MoMa, where we collected a lot of interesting takes on the legendary techno innovators from the likes of Juan Atkins, Afrika Bambaataa, Klaus Biesenbach and more — read them <a title="Kraftwerk 2013" href="http://www.electronicbeats.net/tag/kraftwerk-2013/" target="_blank">here</a>. ~<br>
–<br>
<em>This text <a href="http://issuu.com/eb_magazine/docs/ebmag_30/80">appeared first</a> in <a href="http://www.electronicbeats.net/category/eb-magazine/">Electronic Beats Magazine</a> N° 30 (2012). Read the <a href="http://issuu.com/eb_magazine/docs/ebmag_30">full issue on issuu.com</a>:</em></p>
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# Monika Sprüth on Kraftwerk There's really one central question at our galleristic point of departure: Which aspects of art could be of cultural importance for society? I'm a trained architect and urban planner, so the constant analysis of cultural, social and economical phenomena has always pl...
Chunk #2 (Position: 1)
Theirs is an all-encompassing cultural statement that can compete or even surpass many of the known video works that we see in the museums. It's both timelessly modern and an embodiment of our era.~ Photo: Dagmar Schwelle . Earlier this year we where reporting from the Kraftwerk *Retrospect...