Dr. Thomas Föhl
- Letter of interest
Regarding the planned exhibitions "art open codigo universo" (Part I) and "The theory of everything - i = E = MC2" (Part II), Dieter Walter Liedtke asked me to shed light on his work from an art-historical point of view for the public and the media, and to give a lecture on the importance of his oeuvre for the arts and society.
Art-historical classification of the works and concept as regards the aforementioned exhibitions by Dieter Walter Liedtke.
For more than four decades Dieter Walter Liedtke is known in the art scene as an avant-garde artist who is equally uncomfortable and sparkling with vitality and constantly dares, through the "open art" exhibitions, the balancing act of a new elucidation between art and audience. Dieter Liedtke works as an inventor and writer, as an architect and visual artist, as a researcher, philosopher and art theoretician. In 1982 he founded the artistic movement "Concrete Evolutionism" and presented it in his book The consciousness of matter. Under the term "Concrete Evolutionism" he groups together those artists and artworks that promote an evolution in the human consciousness and deliberately break existing cultural, religious and cognitive boundaries and let the population participate in this opening, so that in the future all people can live in a global, open, creative society.
Internationally renowned art historians, curators and art critics believe that on the basis of his numerous inventions, research activities and innovative works of art he should be compared with the great artists of the Renaissance. Dieter Liedtke's opinion on the subject:
Dieter Liedtke on this:
You can not limit that to me - everyone is the new Da Vinci -
I have examined in great detail the Leonardo da Vinci-comparison, Dieter Liedtke's entire oeuvre and the newly planned exhibitions from my perspective as an art historian. Based on the method of conducting scientific research by means of art and philosophy, lost since the Renaissance, Liedtke is after almost five centuries the first artist to achieve again art and research results of the highest quality.
Unlike Leonardo da Vinci, Liedtke decrypts not just his own works but for the first time all artworks and art movements by means of the graphic "art open art formula" he developed in 1988. He reflected it in books and 1999 at the comprehensive art exhibition "art open" in Essen on an area of 23,000 square meters with the world première of "The Evolution of Arts from Stone Age to the present day", which was organized by bringing together more than 1,000 original works of art from museums and private collections. Under the auspices of Queen Sofia of Spain, the Nobel Peace Prize laureate Mikhail Gorbachev and the German Federal Minister Dr. Norbert Blum, he acted here as a curator. The "art open" art exhibition for the innovations in art and its evolution has generated countless TV, radio and print media contacts worldwide.
The experience with the "art open" art exhibition in Essen encouraged Liedtke to intensively conduct further research with his works and art formula.
In his works until 2007 he accomplished something seemingly unfathomable: to apply his 'formula' for innovations and new creations in art to the social evolution, to our future, the creation processes in the universe as well as to a possible creator, whom he gave the extended name: "art open codigo universo". New answers are thus provided to numerous questions of our existence:
Liedtke's works of art can be divided into five cycles of creation:
1. The works for the study of arts
2. The works for research in physics and astrophysics
3. The works for the study of Eternal Life
4. The works for the exploration of a possible peace between religions
5. The works for research on the principle of creation
His works are created according to the laws of quantum mechanics. They connect - and that's a novelty in art history - the >microworld<, with Plato's world of ideas, the intuitions and tangible information, with - as Liedtke calls it - the non-materialized information from the >macroworld< deliberately for research purposes and new solutions for the future.
His works manifest revolutionary statements and innovations. The intuitive selection of the existing materials and the evolutionary inaccuracy of the technique, similar to quantum physics, in which either accuracy or the indefiniteness is physically generated by the recipient with the same experimental set-up (as the artwork) by not observing the art process or by not measuring, show firstly the indefiniteness and generality of the material and the technique. Secondly (and here again we find the same results as in quantum physics), his works are highly consistent with new propositions, theories and formulas in humanities and natural sciences, even decades before research started dealing with it. The innovations, insights and concepts from his works reveal a new theory about nature, matter, genes, human beings, politics, societies, religions and the universe, and produce from behind the laws of nature a "principle of creation inherent in everything" that can be seen in his works of art. The ability to gain new insights from his works by conducting >research< through the intuitive creation of his pieces of art and by combining the results obtained in the fields of art, philosophy, medicine, sociology, society, economics, theology and physics into a new picture, a revolutionary theory of >everything<, is so far unprecedented in the history of art. Years later, and down to the present day, more than a dozen scientists have been awarded the Nobel Prize for the new theories that resulted from the artworks (or subareas thereof), without ever having had knowledge of Liedtke and his oeuvre.
Thanks to these independent research results by the Nobel Laureates and their studies, Liedtke's forward-looking artworks already have a scientific confirmation today. Historically, his creation process and his new findings have given to art in general a new meaning and direction. How the anticipation of research findings has been possible decades earlier, however, must be scientifically studied in more detail.
Eminent scientists, art historians and curators have been working with Dieter Liedtke for years and confirm that his works are (r)evolutionary and of unique art-historical quality. Their statements prove that his works and theories evince a completely new weighting in art and culture as well as a transparent overall connection to the evolution of man in general.
Based on the innovative power of his "art formula" and the insights gained from his artwork, as well as by the encouragement of the scientists working with him, Liedtke has developed five intuitive artwork series for the social systems of the future, and with the exhibition "art open codigo universo - i = E = MC2" he has combined them into a complete work of art as a new world.
To conclude this art-historical evaluation of the works of Dieter Liedtke, I wish to state my true interest in supporting the exhibition:
i = E = MC2
in museums at national and international level and to offer my services as an art-historical consultant.
Dr. Thomas Föhl
Special Representative of the President and Member of the Board