Révolutionaires - il n'y a pas de révolution!

the possibility of a post mortem discourse - history as transgression

the tomb (the death of a hippie) by paul thek is interesting to me as a citation of change.
in 1967 the installation was first shown at the whitney museum of american art and a general shift was performed from the hippie culture towards a more political and radical movement. regarding this, the question comes up, do real breaks in history exist?
was 67/68 a break and a start of a movement? if yes - how - can we force these breaks? "one says: 1968: that was just the beginning. and another one says that 1968 was the last attempt of a political revolution, and that this attempt failed. and then, that we are exactly the children of this."
thinking that if the revolution of 1968 failed, than it failed successfully. political demands have been answered by culture. all this has already taken place and is now everywhere, because there seem to be a permanent revolution in the marketing departments of big the companies. they place ads in cities, landscapes and magazines to make our lives more colorful. they found out that the revolutionary is a customer and we found out that we can never be so effective.
my second question is, if the statement "the private is the political" is (still) a political statement – and further, to put into question, if there is any 'real' political demand in the western hemisphere nowadays?
thek believed that his piece (the tomb) is a social-political artwork. for him it was not 'just' a personal statement – for him it was a statement about the situation of the society in general. it is private-political and has similarities to slogans out of that time: that "poems should be done by all" or "a women's freedom begins with her belly". I read that politics have been developed to break the permanence of time and being and that it is important to keep the difference between subjectivity and politics.
so, how can we bring whatever being/subject back to live? maybe through disappearing in a multitude. one plus one never ending.
remaking the tomb installation, i see and value in parts as romantic gesture a chain of quoted quotation, the citation of a friend of a friend. to develop the chain of friends I invited friends: to find the clothes (carissa roderiguez), to sing (TJ free with DJ franz). to develop a ritual of cultural theft further, i stole images from the RAF member astrid proll.
i want to document aspects of the political and cultural circumstances of life/death at a certain time ('67/'68) and think about the contemporary demand for a movement - a movement which does not have one direction.