The Czech Presidency of the EU dominated the headlines in early 2009.
The Czech Presidency of the EU dominated the headlines in early 2009. Unfortunately it was less about the rotating presidency and more about the unveiling of Czech artist David Černý's Entropa installation. Rarely has an EU presidency, through art, stirred such emotions and divided opinions.
Housed in the Council of Ministers building in Brussels, the installation was unveiled on 12 January. Made of steel and weighing almost 8 tonnes, the giant “airfix” model lookalike has 27 individual pieces, each representing an EU member state. The piece is far from conservative and lampoons each member state by displaying them through cultural stereotype.
When the Czechs commissioned the work, it was supposed to involve artists from all EU countries, but Mr Černý decided to work alone, without informing the government. The news that the sculpture was all his own work only emerged after the installation had been unveiled.
Czech deputy Prime Minister Alexandr Vondra told us in an interview, “We gave the art free space for expression. We decided against any kind of censorship. The author, David Černý, used this freedom not 100%, but 120%! He is a maximalist and it is not this first time that he has made a mark.”
Freedom of expression through art
Speaking to MEPs it is clear that Entropa achieved one of its main goals as it divided opinions and sparked debate. Karin Resetarits of the liberal group said: “The artist made a big step for Europe. Art is strongest when it hits directly into the heart... then something is moved and changed. This is the power of the art.”
Socialist Katerina Batzeli, chair of the culture committee was swayed by the media impression of Entropa. “The first image that I took from the critics was negative. But after having seen the artwork, I realized that art exhibitions must always be provocative - to shock the system.”
Tadeusz Zwiefka of the EPP-ED group said that the artistic element of the piece outweighed the controversial: “I appreciate the artistic freedom of expression and thus I accept the large liberties taken by artists.”
Art as a cure for national complexes?
Entropa, which carries the subtitle “stereotypes are barriers to be demolished” openly lampoons member states. It is an ironic jab at the issue of European integration and the stereotypes associated with each country.
One of the main issues raised over Entropa is its use of stereotypes to support its message. Ms Resetarits “didn't really see it as a provocation - rather as a mirror that is held before us.” But Ms Batzeli said, “stereotypes are old fashioned ways of communicating messages, especially for the youth... Even in my old age, I don't like them.”
“Art is boundless, limitless, and will also hurt feelings”
One of the great positives to emerge from the Entropa debate is that it has shown the EU's willingness to parody itself and that culturally provocative pieces of art can have a place in an otherwise “conservative” environment. “After the economic crisis humour must be a priority of daily life,” said Ms Batzeli.
“If Europe cannot deal with cynical humour, then the EU's future looks bleak to me. Where does art have its borders? Černý made us smile and think and he brought us closer to Europe,” concluded Ms Resetarits.