After the streets, they are now also sticking to art in German museums, the climate activists.
On Tuesday, two members of the "Last Generation" group glued themselves with superglue to the frame of Raphael's "Sistine Madonna", the showpiece of the Dresden Picture Gallery, yesterday afternoon to Nicolas Poussin's "Thunderstormed Landscape with Pyramus and Thisbe" in Frankfurt's Städel Museum.
The half-dozen paintings covered with people are full of them, after a Joshua Reynolds and a Vincent van Gogh (through the group "Just Stop Oil" in England), Sandro Botticelli's "Primavera" in the Florentine Uffizi Gallery, at the safe bulletproof glass pane of which a couple from the activist group are hugging “Ultima Generazione”, and the Scrovegni Chapel in Padua, northern Italy, frescoed by Giotto,
Politicians used to be photographed in front of famous pictures, now it's activists
But what makes pictures attractive as flypaper and blind activism?
Can patterns be recognized in the selection, or even stylistic or motivic preferences?
The paintings in London and the Städel are landscapes from the seventeenth and nineteenth centuries, which ostensibly fits with the somewhat shallow activist pronouncement that the climate catastrophe will annihilate all of nature.
Lightning strikes Poussin's stormy landscape in Frankfurt.
Even in front of Botticelli's personification of spring in the Uffizi, the image terrorists unfurled a banner that read in rhyme "Ultima Generazione No Gas No Carbone", while Giotto in Padua and Raphael's "Sistine Madonna" in Dresden are Christian motifs without any reference to nature.
Everything we hold dear is being destroyed by the climate catastrophe,
This is how the Dresden apocalyptivists justified the selection of the most popular work in the gallery, so one should prepare oneself for the destruction of all things by the sticker damage to the Sixtina frame, which thankfully is not original.
The activist Maike Grunst even attempted a pseudo-art-historical derivation: “Mary and Jesus look to the future with fear.
They look forward to Christ's death on the cross.
An equally predictable death will also be the result of the climate collapse.” In fact, the respective main pieces of the collections are probably only chosen by the activists because of their public appeal – everyone knows the “Sistine Madonna” as well as the other image victims.
That the political stickers want to put the respective picture on the picture and thus in the media,
One catches oneself in wild fantasies: The artist Daniel Spoerri, who has been represented in museums around the world for decades with his Last Suppers that have been stuck to the wall, may fix a couple of activists in addition to the table and crockery and thus give them the longed-for museum immortalization.