The societal network of Structuristic art
Today, art is widely embraced and ultimately, this is one of the reasons it has grown into a variety of directions in recent decades. In some ways, it does, however, appear to stagnate, which may possibly be the result of the fact that the differences are so extreme. On the one hand, high priced art that as a result leads the desolate life of a speculative object, still exists. As a rule, it is only accessible to a small group composed of a few wealthy people. On the other hand is the art that is generated by innumerable creative people but does not attract any major and public attention.
This situation compelled art philosopher and communications analyst, Felix Stoffel, to establish a revolutionary teaching model in the discipline of visual arts that he calls STRUCTURISM. While it evolves outside of the academic scene and autonomously from the standard art operations model, it is relevant to our culture nonetheless because it is absolutely audience proximate and based on a concept that makes it communicative.
Consequently, the technique used can be learned both quickly and easily, which gives a wide range of people access to it. The integration of theoretical fundamentals during the practical work gives participants a completely new view of the world. “Structurism” as a philosophy or Structuristic Art Studies as its practical implementation changes our perspective of the future.
Felix Stoffel began to develop this concept as early as the mid 1980s. In other words, it started at the exact same time when Joseph Beuys claimed in his famous quote that the language and communication are the main ingredients for the development of the artistic objective of a “social sculpture of society.”