Der Wirkungsgrad der Kunst und der Ästhetik - als Theorie der Kunst

ART AID - Kunst hilft e. V. -wurde als gemeinnütziger Verein im November 2016 im Vereinsregister des Amtsgerichts Hamburg eingetragen und  ist rechtlich und organisatorisch selbständig. Der Verein verfolgt ausschließlich und unmittelbar gemeinnützige und mildtätige Zwecke und ist - politisch und konfessionell unabhängig.

ART AID vertritt die Auffassung, dass in unserer Gesellschaft Kunst sich  nicht nur dem Kommerz widmen, sondern sich sozial engagieren sollte.

Kunst ist einer der Schlüssel zu sozialer Teilhabe in unserer Gesellschaft.
Unser Engagement ist es, Senioren und  Kindern mit und ohne Migrationshintergrund in allen sozialen Einrichtungen die Kunst näher zu bringen und mit ihnen zu malen.
Wir unterstützen vor allem  sozial benachteilgte  Senioren in Alten-und Pflegeheimen, indem wir ein wenig Abwechslung und Freude in ihren oft monotonen und tristen  Alltag bringen.


Fast alle Kinder malen gern.

Wir malen auch mit der Kindern in sozialen  Einrichtungen (Kinder-Krebsstationen in Krankenhäusern, Kinder-Hospizen und Waisenhäuern. Bei der Realisierung unserer Ziele unterstützen uns sozial engagierte Künstler und Kunststudenten, die mit unseren Kindern und Senioren gegen ein geringes Entgelt in  sozialen Einrichtungen malen. Die  entstehenden Bilder sollen in öffentlichen Einrichtungen, Musen und Galerien ausgestellt und in Kunstauktionen versteigert werden - der Erlös fließt den sozialen Einrichtungen wieder zu.

Efflclency Factor of Art and Esthetics - as Theory of Art

This is a Short version of the German text.

The text "Der Wirkungsgrad der Kunst und der Ästhetik — als Theorie der Kunst" is about
the perception of art through the last one hundred years and the author's idea of how art may be involved in nowadays society.


Art should be subdivided into several sections. Due to the complicated situation in the 1920s art has been banished or burned and therefore resulting into art becoming esoteric to vanish into an own universe as Samuel Beckett describes. In the 1940s this incident came up again. The abstract art of the 1940s has been seen as no culture according to Clement Greenberg. In this case it is not about the question of esthetics but rather about representation; the artistic representation of the world and the sense of art within our culture. Professor Dr. Hans Belting called it Iconoclastic Controversy. This controversy prolongated into the 60s of the last century whereas the topic is the modernity and in what kind of pictures of modernity we are living in referring to confrontation of art. Art may be viewed in a new context. For some time art was accompanied by technology in the fields of progress, development and discovery.

This topic turned out to be controversial due to the change of the perception of the global identity of art. The function consists of retaining traditions and restoring lost memories. Art is supposed to be brought up to a new level and to secede from privately acquired artworks. In lieu thereof art is supposed to be realized as well as pictured in public spaces. This kind of art, also called sight specific art, is not supposed to be for ever but rather it should provide a stimulus for discussion which is relevant in the current context. The basic i'dea is that participants (e.g. children and elderly people in social institutions) may receive a different perspective on art and, for example, are able to question problems and to understand to learn or even to evaluate in a correct way — basically a new understanding for art should be established. This art experience leads to self-awareness — this is the whole purpose of art. The reciprocal effect between artist and observer plays a crucial role. The intervention with the observer is of great importance. It is for us and not for the art if art plays a role in the future. Every moment in life is a kind of creation which makes us more sensible to better understand art. According to Bergson it is justifiable that our doing depends on what we are. The duty of the human being is to transform oneself and to mature and consequently to gain experience throughout the course of life. The intuition of action defines a human being and forms a distinctive style. Intuition grows with inner freedom. As Albert Schweitzer says, one should not only mind the "ego" but the "we" as well, namely the common welfare; a single person cannot survive on its own.

L'art pour l'art
The fight against the purpose is like a fight against the moral tendency of art. Just because art is often difficult to understand does not mean art is useless and senseless. Art stimulates human life. How or why should art be considered as useless (l'art pour l'art)? On the other hand human life is just a chapter. Although life is so trivial, philosophy of life did not suffer. Everything seeming so realistic is dissolving into a shine and the reality becomes an illusion. Schopenhauer argues that art enables us the realization to free ourselves from the dictation of our Body - release from space and time. The aim of art has a higher value as the moral aim of art; however, concluding it can be said that in this day and age art and moral should be consistent with each other.

Bringing especially children as well as elderly people closer to art and to work with them is the aim. By this are meant children and elderly people in every social institution as well as children of the Third World. The resulting pictures shall be exhibited in public institutions, museums and galleries and furthermore auctioned off in art auctions. For the realization of a project it is necessary that artists as well as art lecturers are starting to rethink. If every artist engaged himself or herself with art in the social field, at least once a week, it would give art a new relevance.


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