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Review: distinct in its wide foreign assurance of either arts and cultural occasions, Arts & Collections covers fantastic paintings from antiquity to trendy occasions, public sale files, a unique sale preview by way of Sotheby’s, in addition to marketplace traits that tell creditors of the world's most interesting items.

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Additional resources for Arts & Collections International, Issue 2, 2016

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But how far do we go in the opposite direction? As far as SNUFF L ITERATURE, in which the conformism of abj ection innovates an academicism of horror, an official art of macabre e ntertainment? In the United S tates, to take one example, the torturing of the human body by sharp instruments seems to have become the preferred image of advertising, accord­ ing to the Wall Street Journal of 4 May 2000 . Hit over the head by such media bludgeoning, the art lover is surely already the victim of what psychiatris ts call impaired judgement.

Sir Fr ancis Galton, the unredeemed eugenicist, is back in the land of his cousin Darwin: freedom of aesthetic expression now knows no bounds. Not only is everything from now on 'possible' . I t is 'inevitable' ! Thanks to the genetic bomb , the science of biology has become a maj o r art only, an EXTREME ART. This helps make sense of the title of that Heinrich Heine I nstitute conference, 'The Elimination of Nature as a Theme in Contemporary Art' . It also makes sense of the recent innovation not only of a COUNTER CULTURE, opposed to the culture of the bourgeoisie, b u t also of an art that is frankly COUNTER-NAT U R E , ped d ling as it does a eugenics that h a s finally tri umphed over all prejudice absolutely, in spite of the numberless horrors of the waning century.

ART MAUDIT or Artist Maudit? What can you say, meanwhile, abou t the likes of Richard Hiilsen­ beck, one of the founding fathers of Dada, who told a Berlin audience in 1 9 1 8, at a conference on the new trends in art, 'We were for the war. Dada today is still for war. Life should hurt. There is not enough cruelty/' S The rest is history. Twenty years later the ' Theatre of Cruelty' would not be the one defined by Antonin Artaud but by Kafka, that prophet of doom of the metamorphosis engineered by the camps, the smashing to smithereens of humanism.

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