The debate over Greek-Russian conductor Teodor Currentzis's potential admission to Austria's Arts Council has sparked controversy, particularly regarding his silence on Russia's war against Ukraine. However, critics argue that the criteria for membership - outstanding artistic achievements - has been clearly met, raising questions about the consistency of the council's standards.
The Austrian Arts Council already includes controversial figures, including photographer Nobuyoshi Araki, whose bondage imagery has drawn criticism from Western art critics and feminists who accuse him of exploiting and degrading women. According to the Austrian Arts Council's website, his work represents viewpoints that don't align with prevailing discourse about women or sexuality in Austria. Despite this controversy, Araki remains a council member alongside artist Kiki Smith, who creates utopian visions of a matriarchy that would make the world peaceful and free.
Perhaps most notably, French author Michel Houellebecq is already a council member, having received the Austrian Honorary Decoration for Science and Art - the country's highest award in these fields. Houellebecq, known for his controversial views on women, Islam, and liberalism, was not likely selected for his ability to foster integration between art and society, despite the Cultural Ministry's stated goal of promoting such connections through members' public statements on current and relevant issues.
Cultural Minister Andreas Babler has submitted the application for Currentzis's admission to the council, with only the Federal President's signature remaining as a formality. Importantly, Currentzis was actually elected by Austrian and foreign artists who are already council members, based on the official criterion of outstanding artistic achievements - a standard he undeniably meets.
The controversy highlights a fundamental contradiction in how society views art and artists. The persistent elevation and self-elevation of art, inflating human competence in creating beauty and aesthetic success into mastery of truth and goodness, creates unrealistic expectations. The Cultural Ministry's emphasis on formulas about integrating art and society, and providing recommendations of general significance, places unfair burdens on artists.
The case becomes clearer when considering what productive dialogue might emerge from interactions between these diverse council members. Would conversations between Araki and Smith, with their opposing views on gender, produce great benefits for Austrian society? What insights would emerge from discussions between these artists and Houellebecq about women, religion, or political philosophy?
The solution lies in abandoning the persistent glorification of art and ending the inflation of aesthetic competence into moral and intellectual authority. Artists like Currentzis should also refrain from positioning themselves as life teachers who speak through their music. By maintaining clearer boundaries between artistic achievement and broader social commentary, the council could function more effectively while avoiding these recurring controversies over members' political positions.
