16789 („Es stellt die neue Kunst sich ein …“) 1932

Editor: This is "16789 ('Es stellt die neue Kunst sich ein...')” a collage and gouache on paper created by John Elsas in 1932. The figure, constructed of geometric shapes, is quite striking... almost like a paper doll. How do you interpret this work, particularly given its historical context? Curator: The angular figure immediately evokes the Expressionist movement, yet the playful use of collage pushes beyond its boundaries. Knowing it was created in 1932, on the cusp of Nazi Germany, it feels incredibly poignant. The German text translates to "It is putting on the new art," which begs the question, what new art is being ushered in, and by whom? Is it an endorsement, or a critique of shifting artistic paradigms reflecting deeper societal shifts? Editor: I see what you mean. The figure’s gesture, like pointing the way, is open to many interpretations. Is he leading or perhaps warning us about the future of art in that era? Curator: Precisely. The ambiguity is key. Elsas’ identity as a Jewish artist living during the Weimar Republic positions him uniquely to understand both the potential and the peril of this "new art." How does this resonate with current dialogues about art and political change? Editor: That's fascinating! I didn’t initially consider that context. Thinking about censorship and artistic freedom makes it even more powerful. Curator: It underscores how art serves as both a mirror and a critique of its time, often foreshadowing pivotal societal shifts and injustices. Elsas challenges us to consider how art carries a responsibility during transformative times. Editor: It really highlights the significance of situating art within its historical and political framework. I will certainly not look at art the same way. Curator: And that’s how art continues to speak across generations, prompting new insights and dialogues.