| NO!art + About + Front + Manipulation + Mail + ►Reload | EN | DE |
 |
<<< >>> |
 |
 |
About
Activities
Interview
Projects
Reviews
Works
NO!art
occupies
the strategic
juncture where
artistic production
and socio-cultural
action meet.
JOCHEN GERZ, born in 1940, in Berlin, Germany. He started with Concrete Poetry. In the sixties he is involved in environments, actions and videos.|In the early seventies he co-operated as a foreign correspondent in the mediacontact agency by Dietmar Kirves in Düsseldorf, had shows there and supported publications of Jean le Gac and Sarkis.|In the nineties he is engaged in the Memorial culture.|Lives in Ireland since 2007. ►homepage ►wikipedia
2015 SQUARE OF THE EUROPEAN PROMISE | Project, Bochum-Center/Germany
2011 2-3 STREETS | DuMont Buchverlag, Cologne
2010 2-3 STREETS | Dortmund, Duisburg, mühlheim an der Ruhr
2008 ICH SIGFRIED UIBERREITER | Culture Steiermark, Graz
2007 SQUARE OF EUROPEAN PROMISE | Bochum (Germany)
2004 MAHNMAL UND PEINLICHKEIT | Widersprüche der "Erinnerungskultur"
2003 NO!art in BUCHENWALD | Boris Lurie: Geschriebigtes ...,
catalog book, Stuttgart | Contribution: ►2146 STONES, 1993
1972 CONTRIBUTIONS TO THE PHONE BOOK OF PARIS
mediacontact, Düsseldorf
1971 FOREIGN CORRESPONDENT | mediacontact, Düsseldorf
1970 ONE DAY | mediacontact, Düsseldorf
►Solo Exhibitions + Group Exhibitions
NO!art involved Artists: ARMENTO + ARONOVICI + BAJ + BARATELLA + BECHER + BROWN + BRUNET + BRUS + CHORBADZHIEV + D'ARCANGELO + DAYEN + DE RUVO + EHM-MARKS + ERRO + FABRICIUS + FISHER + GATEWOOD + GEORGES + GERZ + GILLESPIE + GILMAN + GOLDMAN + GOLUB + GOODMAN + HALLMANN + HASS + HJULER + KAPROW + KIRVES + KUSAMA + KUZMINSKY + LEBEL + LEVITT + LONG + LST + LURIE + MASTRANGELO + MEAD + MESECK + PATTERSON + PICARD + PINCHEVSKY + RAMSAUER + RANCILLAC + ROUSSEL + SALLES + SALMON + SCHEIBNER + SCHLEINSTEIN + STAHLBERG + STUART + TAMBELLINI + TOBOCMAN + TOCHE + TSUCHIYA + VOSTELL + WALL + WOLF + WOYTASIK + ZOWNIR
NO!art has continued way beyond 1964 and also prior to 1958. The "cutting-off" date 1964, as espoused by the art historian is entirely artificial. Such cutting-off dates are common to art historians, done for cataloguing purposes, and what is more, for accreditation of monetary value in the art market. The cutting-off dates also have a devastating effect on the production of artists, who are, by those means, being convinced that what they produce after a cutting-off date is secondary in importance, and do not belong any longer to the "new times". Yet the art market hated it, for practical reasons of creating confusion about monetary value. That is the main and real reason for art historians and critics insisting on this untrue measure. - Boris Lurie, 2003.
