Mythical geography: On artistic actionism in Germany in the 1960s–1980s

Abstract

This article analyses the artistic thought and concept of “mythical geography” in the work of Joseph Beuys during the 1960s–1980s, within the context of German artistic actionism and postmodernism. The author explores the symbolic nature of the artist’s performances, installations, and mythological imagery, as well as the role of irony within the semantic space of his oeuvre. The study employs iconographic and semiotic methods to identify key symbols and images in Beuys’s work, drawing on the theories of Roland Barthes, Kurt Hübner, Gilles Deleuze, and Jürgen Habermas. The empirical framework includes descriptions of specific performances and installations, as well as an analysis of Beuys’s artistic manifestos and interviews. The article examines the historical and cultural roots of his mythological themes, such as theosophy, anthroposophy, and folk legends, which informed his unique “mythical geography.” This geography is manifested through symbolic signs, performances, and ritualistic gestures, pointing towards transcendental and archetypal meanings. The findings delineate the primary characteristics of Joseph Beuys’s actionism, highlighting the vital interaction between individual perception and the collective unconscious. It is established that his work is inherently ironic, re-evaluating classical myths, religious motifs, and folk symbols to create a space that unites the spiritual and the mental within a conceptual “Eurasian space.” The study identifies the structural features of the symbolic space utilized in his performances and installations, revealing the duality of symbolic images, including “animal-symbols,” everyday items, and natural objects, and their emotional-psychological impact on the viewer. Emphasis is placed on the necessity of understanding the historical context of the artist’s development and the significance of his ironic reappraisal of classical canons and values. The research concludes that subjective mythology played a pivotal role in shaping Beuys’s individual style, demonstrating his unique contribution to the evolution of late twentieth-century European art.