Meistdeutigkeit / Maximeaningfullness

In his art, Olaf Metzel has proven to be a master of subtle irony, which was frequently seen as a provocation and led to strong reactions. The same holds true for his sculpture Maximeaningfullness. The work is situated in front of the main entrance of the plenary hall, which was designed by architect Günter Behnisch and opened in 1992. Metzel’s work consists of a tall funnel-shaped arrangement of prefabricated metal parts, such as those used for bicycle racks. This choice of materials is disorienting in a location that appears to be more appropriate for the coming and going of representative politicians’ cars. Does the artist wish to draw attention to an alternative means of transportation? Is he pointing out the short lifespan of the Bonn government institutions?
Even the title of the work leaves room for a wide variety of interpretations, which only increases when considering the form. In this way, the sculpture is reminiscent of an icon of an expanded concept of art – namely, Marcel Duchamp’s Bottle Rack. However, because it is hung with loose metal chains, it is also reminiscent of a chandelier that has been taken down, perhaps illustrating the end of a political style that was geared towards representation. As such, the sculpture leaves room playful approaches on the side of the viewer as much as it can be seen as an ironic commentary on meaningless public art decorations.