Spectacle of Death

The works deal with death, and in particular the spectacle of death. The story of Western art is full of depictions of witnesses of saints and slaughtered innocents, but the death penalty is more accurate. It refers not only to death, but to the lawful death. There is no death penalty in nature, only in society and the laws that govern it, and they can turn the murder into supposed justice. It is the most premeditated of murders, according to the French philosopher Camus in his essay "Reflections on the Guillotine". Despite the horrible nature of this, executions were often public and watched by large crowds. In Europe during the Middle Ages, the death penalty was not hidden, it was a public spectacle advertised to city dwellers. The horrible death penalty, as well as its depictions in art, had a dual purpose. Until the 18th century, the death penalty was still a public spectacle. In the modern age, the death penalty has moved into the into close chambers. The executions were no longer visible, so the execution instruments - the loop, the electric chair - have become synonyms for the convicted. Andy Warhol created some of the most threatening arts of the 1960s and, along with his car accidents, he produced multiple paintings depicting electric chairs. Repeated electric chairs testify to the abundance of executions. Death of an enemy and a stranger (according to Freud): Man has no problem with the death of someone else or with the killing of those who hate. It would only follow his instinct. Apart from being meticulous about the execution of the assassination, we accept the death of strangers and enemies and punish them "so easily and reluctantly".