We increasingly . . . observe that art is less associated with social impulses. Artists are rather expected to simply dazzle, to comply with current clichés, and to resign themselves more or less happily to their fate as glittering gems of society. Many artists do their best to become exactly that and let themselves be kept in leading strings as naturally as this were the greatest perfection of each and every artistic discipline. The art market, however, is anything but the measure of all things if it comes to combining art and business.

This is why I am so fascinated with Flora Neuwirth’s project clubblumen . . . [It is] not concerned with exclusivity but is rather incredibly generous. It addresses everybody, including many activists in the field of art and beyond. The artist herself is discretely in control as initiator, designer, and impresario, yet steps back behind a crossgenre vision of togetherness that transcends the boundaries of art. Yet, at the same time, she effortlessly picks up the loose ends of important contemporary art discourses – on the legitimacy of art in public space, on the future of “relational art practices,” and on the possibilities of art for establishing a “community” . . . A self-presentation with so many participants in which seemingly disparate interests combine to form a consistent whole which is alive and moves, without any pomp, without fetters. The art created here immediately blends with the texture of society without the filter of an institutional framework. This may be sweet, wild, or probably both at times. But hardly anything remains to gather dust in a museum, neither servile bugs nor lofty dust traps. Just go there, breathe, look, drink, eat, and join in.