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  Many artists have left their mark on art history and represent, after many years, a generally valid, immovable marker which has soaked into cultural memory. Joseph Beuys’ hare and tin can telephone are now a part of an archaic memory and have influenced all following works. It is the memory of Beuys’ extension of the classic idea of what is art to include “anthropological art” which does not define the presented situation out of context but highlights the breadth of the overall influence of all prior schools of art. The space here is a stage setting of European culture for which a monocausal interpretation is supposed to be impossible. Both the shamanism of Beuys and his transporting of the past into the future resonate. The work is part of a trilogy which refers to the influence of Joseph Beuys, Mark Tansey and Max Ernst.