Circus Wols is a multimedia spectacle conceived by Wols during World War II at the Camp des Milles where he was interned between May and October 1940. As a German citizen, the artist was considered an enemy of France and Circus helped him bear the harsh conditions of his imprisonment. Wols envisioned a show of high intellectual and aesthetic value that would employ advanced technology but remain accessible to the masses. As such, it is comparable to a utopian avant-garde total artwork. However, through its assumed incompletion and fragmentation, Circus Wols destabilized the ambitions of the avant-garde and modernism; it even went further, rejecting anthropocentrism. Shortly after his liberation from the camp, Wols began to claim that his art should not be considered a human creation. Prefigured by Circus Wols, the artist’s dismissal of European humanism as a valid social and cultural paradigm only grew after the war. His stance is best understood in relation to the contemporaneous notion of “abhumanism”, first theorized by playwright Jacques Audiberti, and embraced by Wols’s close friend, artist and poet Camille Bryen. The article argues that approaching Wols through the lens of abhumanism highlights the pressing historical concerns of his work, which, associated with post-war Parisian Abstraction, is usually depoliticized.

中文翻译：

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“公墓=文明”：马戏团的沃尔斯，第二次世界大战和人文主义的崩溃

Circus Wols是第二次世界大战期间Wols在1940年5月至1940年期间在米勒营（Camp des Milles）拘留的多媒体眼镜。他是德国公民，被认为是法国的敌人，Circus帮助他承受了严酷的条件。他的监禁。沃尔斯设想展示一种具有高智商和美学价值的节目，该节目将采用先进的技术，但仍为大众所用。这样，它可以与乌托邦前卫的整体艺术品相媲美。但是，由于假定的不完整和碎片，马戏团沃尔斯破坏了前卫和现代主义的野心；它甚至走得更远，拒绝人类中心主义。从营地解放出来后不久，沃尔斯就开始宣称他的艺术不应该被视为人类的创造。由马戏团沃尔斯（Circus Wols）所预谋的，艺术家对欧洲人文主义作为有效的社会和文化范式的否定只是在战后才开始。关于同时代的“非人道主义”的概念，他的立场得到了最好的理解，该概念首先由剧作家雅克·奥迪贝蒂（Jacques Audiberti）提出，后来被沃尔斯的密友，艺术家和诗人卡米尔·布赖恩（Camille Bryen）所接受。这篇文章认为，通过非人道主义的视角来对待沃尔斯，突出了他作品的紧迫的历史关注，而这种关注与战后巴黎抽象派有关，通常是非政治化的。