Dr. Thomas Föhl

Art historian Klassik Stiftung Weimar
Member of the Board of Directors

Art historical events and connections with scientific research results in Dieter Liedtke's works

“Having resorted to the forgotten since Renaissance method - using art and philosophy in scientific research - Liedtke became the first artist to have achieved the highest results in art and research after nearly five centuries“

The creative work of artist Dieter W. Liedtke was in 1999 labeled "evolutionary" by the impor- tant German art periodical KUNSTZEITUNG. Having resorted to the forgotten since Renaissance method - using art and philosophy in scientific research - Liedtke became the first artist to have achieved the highest results in art and research after nearly five centuries.

Briefly after their creation, his advanced findings were documented in his works of art, books and exhibitions. New facts confirming Liedtke’s findings, independently of his art and studies, are regularly discovered years after by prominent researchers in various areas of science.

In 2000 the neurobiologist Eric Kandel received the Nobel Prize for medicine; his findings were anticipated in Dieter W. Liedtke’s works of art 20 years ago and documented in the book The consciousness of the substance (1982).

In 2006 the researchers Andrew Fire and Craig Mello received Nobel Prize for their discovery in 1998 of how information regulates genes thus confirming Dieter W. Liedtke’s works of the 80- ies: genes and gene programs can be switched on and off. In his works of the 80- and 90-ies Dieter Liedtke goes on to state that even “pure”, unmaterialized information, art and visions can change gene programs, genes and cells, and these changes can be positively or negatively controlled (see also books: “The consciousness of the substance” (1982), “The key to art” (1990) and art open catalog (2000)).

In his works with the help of art and philosophy Liedtke outlines firm, logical borders of con- temporary knowledge and shows possible ways to form a new, more humane world. Arguably the most significant philosopher and sociologist of the 20th century, Prof. NIKLAS LUH- MANN, Bielefeld University, 1996 expresses his opinion on the issue:

"Liedtke modifies and extends the framework of wellknown theories. His new scientific theo- ries are at the same time both conditions and products of his own activity. One comes to think about evolutionary achievements, which, once invented and introduced, enable their existen- ce. Extrapolating their results to the system of modern society, which can accept or reject these achievements, one sees the result of evolution."

KARL RUHRBERG, art historian (Köln) stated in 1997 that Liedtke’s works of art, exhibitions and theories have repeatedly served as strong impulses for thedevelopment of art history and helped reveal its consciousness extension function. In 1983 the renowned MUSEUM OF MODERN ART, New York, claimed that Liedtke’s book “The consciousness of the substance” extended the museum documentation of contemporary art, which is proved by his art and philosophy.

Mass media of different countries made about 100 reports about Liedtke’s “inconvenient”, setting to think works, which have been published during the last two decades and made the author known among insiders as an advanced, revolutionary artist who strives to construct positive future. Italian channel TELE 5 presented him in 1991 as a successor of artist Josef Beuys. Spanish periodical ULTIMA HORA wrote in 1996 that in Europe Dieter Walter Liedtke was considered one of the artists to connect art and philosophy better than anybody else.

Another Spanish newspaper DIARIO 16 in 1991-1993 published in its weekly supplement Liedtke’s book on philosophy of art “The keys to art - what connects a cave man with Leonardo da Vinci and Josef Beuys?” that testifies the meaning of a r t o p e n formula for history of art. German weekly WELT am SONNTAG published in 1995 an article called "Dieter Liedtke follows Leonardo ".

His perception of art as consciousness extending information with nerve networks and new genetically programmed qualities and characteristics goes far beyond the classical under- standing of art and its effect on people. Well-known people like her majesty QUEEN SOFIA of Spain with the assumption of honorary presidency, the German Minister of Labour and Social Affairs Dr NORBERT BLÜM and Nobel peace prize winner MIKHAIL GORBACHEV, patronize Dieter W. Liedtke’s art formula exhibition art open thus supporting the promotion of peace formula.

The formula was devised in 1969 - 1988, with the purpose of discovery and promotion of cre- ativity tool for all people. Since René Descartes (1596 - 1650) it’s usual for western philoso- phers to separate the spirit from the matter so creativity is perceived as something indefina- ble. The science historian Professor Dr Ernst Peter Fischer writes about this: "I think that the most important discovery at the end of the two thousand years Christian era was to realize the old idea of polar extremes needed a new form. At the moment the most important task of West European culture consists in search for its own symbol of thought, which would hold the man in the world and connect him with the world. Our culture must look for it consciously, mobilizing its best, i.e. complementary forms of truth search, which are called art and science. When combined, they will disclose the humanity inherent in our culture. But this invention is still to be made. It would surely be of more importance than any other event in the past 2000 years both in the world and in the minds of people." The result of addition in the formula – the cross - is a symbol of connection between spirit and matter, man and nature, the younger and the older generation, mankind and peace, ethics and capital, employers and work-hands, government and people, nerve networks and experience; it shows the way antagonisms and hatred can be eliminated and is far more powerful than the symbol sought by Ernst Peter Fischer to represent this complementarity in West European philosophy. The cross unites natural science and art into a single whole and opens both the spheres to the broad public, to the second Renaissance, a cross, a branching of possibilities with new genetically pro- grammed models of life, society and future. The cross blends red and yellow colors into the orange of Buddhist monks, the Ying Yang symbol with its red and yellow basis yüanck'i (pra- chaos), thus showing a deeper level of the Universe, in which art, creativity and creative power reveal the basis for substance, energy and evolution of life. The artist proves by his graphics that a creator may be connected with hisrecognizable creations that can become the symbol for a new society of prosperity, freedom and peace.

Liedtke promotes with his works the development of concrete evolutionism, a creative huma- ne society of prosperity, freedom and peace for all people.

Internationally famous museums, collectors and artists have offered numerous works of art- historical value for Liedtke’s exhibition art open, in Essen, 1999.

For the first time at an exhibition art was shown in general context from the Stone Age till today, classified for visitors with the help of the art open art formula, and in the context of Liedtke’s works.

By promulgation and application of his graphic formula the author wants to give an impulse for creating a new world. Liedtke: " The use of art formula can help eliminate creativity limi- tations. Every amoeba, every plant, every animal and every virus is creative - only the man is an exception." He thinks that the main reason for poverty, terrorism, class and race hatred and war is the reduction of the natural evolutionary gene programmed creativity of a man. That takes away from a man his dignity, makes him helpless, depressive, unconscious and

aggressive. For Leo Tolstoi art is a natural and catching means of human communication through experience and art transmission can fight creativity limitations.

Count Leo Tolstoi:

"Art is a human activity consisting in this, that one man consciously, by means of certain external signs, hands on to others feelings he has lived through, and that other people are infected by these feelings, and also experience them”.

For Nietzsche a man may himself become a work of art if he gets involved in art, moves his spiritual barrier to a larger consciousness field.


"Now a slave is a free man, now all rigid, hostile discrimination, misery and despotism is gone, or <<impudent mode>> is established among people... A man is not an artist any more; he has become a work of art".

“Dieter Liedtke has elaborated the noble aim set by Joseph Beuys, to show the society the way to a creative humane world. Whether the politicians will follow the route, depends much on who is willing to back up the ideas and how the public reacts to the new direction’’.

Dr. Thomas Föhl