Innovation: Disclosure that the innovations encoded with the beginning of the Enlightenment (from the 15th century onwards) and whose creativity and innovations could no longer be interpreted by the population, through obfuscation and exaggeration. The state promoted separations of the majority of the population from creativity, creative power or God and the people from the Renaissance and the Enlightenment onwards.

A secularisation of the Christian churches as bearers of religion, but also as guarantors of the (God-ordained) state constitutions, led to a reduction of the understanding of creativity as a power factor, which also affected the relationship to art. The ability to create and to gain knowledge was regulated as an essential means of shaping the present and the future. Where they were permitted or revealed without the permission of spiritual and secular rulers, they were subject to their censorship. Art was deliberately misdefined by the new priests of secular power, the art owners, as incomprehensible genius and divine power, and the transmission of creative power to man as innovative power was kept secret from the people, since art was increasingly becoming a commodity whose rarity (and thus its value) had to be guaranteed. The art formula that everyone understands is defamed as absurd, so that no creativity from works of art can be taken over by the people and the people do not lose their fears and disorientation through creativity. In information rituals, the goals of the leaders as well as the cohesion of communities are organised in individual or community rituals and presented as the unquestionable but binding will of God. Artistic creation is reduced to 'genius art', whereby the cult of genius is transferred from the art owners and exhibitors (the state) to the people. This negates any claim to creativity on the part of all individuals. 

From Wikipedia 

In democratic countries, the right to artistic freedom is either enshrined in the constitution or guaranteed within the framework of freedom of expression. In states with a different political organisation, the practice of art is often regulated and/or instrumentalised for propaganda purposes. Dictatorships often use art specifically to stabilise the respective regime. Free artistic expression is subjected to censorship and threatened with repression, or actually exposed to it. Because of such repression, artists then do not produce critical works (scissors in the head), do not publish them, or go into internal emigration. Some artists internalise the state, social and/or religious requirements and produce - out of conviction or economic constraints - affirmative works. 

Innovation Technique: Digital print as a size-unique/original artwork with Dieter Liedtke's DNA in the red colour.

Innovation of the series: disclosure of health, motivational and group or political social rituals. The effect of the recovery rituals can be optimised optimally through first experiences with creativity and affection previously unknown to the sick person (see research results on neurobiology, epigenetics, mirror neurons, nocebo and placebo and the ancient rituals up to the emergence of religions and today's voodoo) or for group guidance through numerous repetitions by information mediators (see religions and media). 

Series name: Art and Healing II 

Years of the series: 1963 -

Year of work: 2015 

Signature: Liedtke

Material: Ink, canvas on stretcher frame 

Dimensions: 140 cm x 180 cm

Price: 10 Million Euros. €

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