A Steep Decline into Madness: Joseph Beuys' Infamous Bathtub Confronts the Abyss of Modern History
Joseph Beuys was born at the perfect age to fight for Hitler, and he did – with the scars to prove it. The Andy Warhol portraits that accompany this exhibition brutally capture his gaunt face in the glare of a photo flash under the hat he wore to hide burns sustained in a plane crash while serving in the Luftwaffe. These haunting images portray Beuys as a spectral figure, lost and guilty, his eyes wounded by the horrors of modern history.
The Bathtub, the centerpiece of this exhibition, is a monstrous, steampunk metal contraption with protruding pipes and valves, its interior resembling human flesh. The giant mammoth tooth at its base adds to the sense of unease, as if the very foundation of civilization has been torn apart. Cast from Beuys' design in 1961, the Bathtub is a work that embodies his animist vision of humanity and the cosmos – but also one that seems to plunge us into the depths of modern history's darkest abyss.
Beuys was an artist who reveled in mythology, seeking to revive ancient Germanic lore. His sculpture Lead Woman, from 1949, imitates the wild anatomies of the Venus of Willendorf and other Palaeolithic sculptures. This work is a testament to his desire to tap into a prelapsarian national mythology, one that had been lost after the devastation of World War II.
However, as we gaze upon Beuys' creations, it becomes clear that he was also grappling with the very real horrors of modern history. The Bathtub, in particular, seems to be a conduit for the poisonous pipes of mass murder and genocide. This is not an exhibition that offers solace or comfort; instead, it plunges us into the acid of history's darkest corners.
Beuys' art has always been about transcendence – but also about confronting the abyss that lies beneath. As we walk through this exhibition, it becomes clear that his hopes for a utopian world were forever eclipsed by the weight of reality. His work is a reminder that creativity can be both joyous and cursed, and that sometimes, the very things we seek to escape – history's horrors, in particular – are the ones that haunt us most.
Ultimately, this exhibition is not an easy one to navigate. It's a confrontation with the darkness at the heart of modern history, and Beuys' art is both a reflection of its horrors and a testament to our enduring humanity. As we gaze upon his creations, we're forced to confront the abyss that lies within – and to acknowledge the profound impact that this terrible world has had on us all.
Joseph Beuys was born at the perfect age to fight for Hitler, and he did – with the scars to prove it. The Andy Warhol portraits that accompany this exhibition brutally capture his gaunt face in the glare of a photo flash under the hat he wore to hide burns sustained in a plane crash while serving in the Luftwaffe. These haunting images portray Beuys as a spectral figure, lost and guilty, his eyes wounded by the horrors of modern history.
The Bathtub, the centerpiece of this exhibition, is a monstrous, steampunk metal contraption with protruding pipes and valves, its interior resembling human flesh. The giant mammoth tooth at its base adds to the sense of unease, as if the very foundation of civilization has been torn apart. Cast from Beuys' design in 1961, the Bathtub is a work that embodies his animist vision of humanity and the cosmos – but also one that seems to plunge us into the depths of modern history's darkest abyss.
Beuys was an artist who reveled in mythology, seeking to revive ancient Germanic lore. His sculpture Lead Woman, from 1949, imitates the wild anatomies of the Venus of Willendorf and other Palaeolithic sculptures. This work is a testament to his desire to tap into a prelapsarian national mythology, one that had been lost after the devastation of World War II.
However, as we gaze upon Beuys' creations, it becomes clear that he was also grappling with the very real horrors of modern history. The Bathtub, in particular, seems to be a conduit for the poisonous pipes of mass murder and genocide. This is not an exhibition that offers solace or comfort; instead, it plunges us into the acid of history's darkest corners.
Beuys' art has always been about transcendence – but also about confronting the abyss that lies beneath. As we walk through this exhibition, it becomes clear that his hopes for a utopian world were forever eclipsed by the weight of reality. His work is a reminder that creativity can be both joyous and cursed, and that sometimes, the very things we seek to escape – history's horrors, in particular – are the ones that haunt us most.
Ultimately, this exhibition is not an easy one to navigate. It's a confrontation with the darkness at the heart of modern history, and Beuys' art is both a reflection of its horrors and a testament to our enduring humanity. As we gaze upon his creations, we're forced to confront the abyss that lies within – and to acknowledge the profound impact that this terrible world has had on us all.
. Beuys' work is like a punch to the gut, it's so raw and honest 
. The way he tackles the darker side of human history is super thought-provoking, and I love how his art can be both beautiful and unsettling at the same time 
. But what really gets me is how Beuys' own experiences, like being a prisoner of war, inform his work in such a profound way 
. It's like he's not just creating art, but trying to process his own trauma and make sense of the world around him 
. I don't know if I'd call it "easy" to navigate this exhibition, but I think that's what makes it so important - we need more art that challenges us and forces us to confront our own demons 
.
this exhibition sounds super intense... like beuys was literally trying to exorcise the demons of wwii from his system. i love how it's a mix of mythology & horror – like, he's tapping into these ancient germanic lore but also trying to expose the ugliness of modern history. it's like he's holding up a mirror to humanity's darkest corners 
. and that bathtub thingy? 
what was he even thinking?! it's like a twisted amalgamation of steampunk & human flesh 
. anyway, i'm low-key excited to see this exhibition... but also kinda terrified 
️
... it's like he's inviting us to gaze into the darkest corners of our collective psyche and acknowledge the horrors we've inflicted upon each other 
but at the same time, it's also kinda beautiful? it's like he's trying to tap into this deep, primal energy, but also acknowledging the darkness of human history.
. but at the same time, his art is also a reflection of the horrors that we've inflicted on each other, you know? it's like he's holding up a mirror to our own dark selves 
The Bathtub by Joseph Beuys is like staring into the void - it's unsettling and uncomfortable, but also kinda genius 
That thing is majestic in its ugliness 
. All in all, this exhibition feels like a tough pill to swallow, but maybe that's what we need - a good dose of reality to wake us up 
.
. The Bathtub is just a messed up sculpture that tries to convey some deep message but really just ends up being a bunch of steampunk nonsense 
. And don't even get me started on the giant mammoth tooth, what's with that? Trying to be all deep and spiritual or something? 
- FDR
. I don't know if I'm ready for that kind of introspection... sometimes I just want to look at a pretty picture or something, you know? 
. Beuys' art is like a punch in the gut - it's raw and honest, but also kinda haunting 
. The Bathtub is like this monstrous creature that just makes you feel uneasy 
. It's like he's trying to show us that our modern world isn't as perfect as we think it is 
.
. His art is like a reflection of all those experiences and the emotions that came with them 
. Beuys' art is like a mirror held up to our darkest selves - it's uncomfortable, but also kinda necessary 
.
but like a few years ago he got into this super intense argument with someone and it ended in him getting stabbed 
️ it's like he's always trying to find a way to heal from those wounds through his art 
but at the same time, it feels like he's also being super honest about how messed up the world can be 
You know, it's like he's tap into this dark energy that just feels real, you know? The Bathtub thing is wild, like something outta a sci-fi movie. But at the same time, it's also super poignant, ya feel? It's like, yeah, we gotta face the darker stuff in history if we wanna move forward, right? 
but overall, i think this exhibition could've been handled better in terms of tone and balance 
But seriously, it's like Beuys is trying to tell us something about humanity's relationship with technology and nature. Like, we think we're so advanced, but at what cost? 