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Biografie – Werke – Zitate – Publikationen – Videos – Kontakte

Baldessari, John
Barney, Matthew
Baxter, Iain
Beuys, Joseph
Bochner, Mel
Boltanski, Christian
Bonin, Cosima von
Bourgeois, Louise
Brenner, Birgit
Broodthaers, Marcel
Buckingham, Matthew
Burn, Ian
Carpenter, Merlin
Cattelan, Maurizio
Chapman , Jake & Dinos
Christo, Jeanne-Claude und
Horn, Rebecca
Horn, Roni
Huyghe, Pierre
Genzken, Isa
George, Gilbert
Gerz, Jochen
Gillick, Liam
Gober, Robert
Gonzalez-Torres, Felix
Gordon, Douglas
Gostner, Martin
Graham, Dan
Graham, Rodney
Grünfeld, Thomas
Irwin, Robert
Kelley, Mike
Kosuth, Joseph
Kounellis, Jannis
Krebber, Michael
Kruger, Barbara
Kusama, Yayoi
Laib, Wolfgang
Lawler, Louise
Lee Byars, James
Manzoni, Piero
Mapplethorpe, Robert
Marclay , Christian
Maria, Walter De
Matta-Clark, Gordon
McBride, Rita
Meese, Jonathan
Merz, Gerhard
Miller, John
Mucha, Reinhard
Muñoz, Juan
Nauman, Bruce



Abad, Antoni 
Atelier Van Lieshout 

Benayoun, Maurice
Bock, John
Breitz, Candice 
Bulloch, Angela
Burson, Nancy 
Cattelan, Maurizio 
Cavusoglu, Ergin
Courchesne, Luc 

Creed, Martin 
Davies, Char
Eliasson, Olafur 
Elmgreen, Michael & Dragset, Ingar
Fleury, Sylvie
Gonzalez-Foerster, Dominique (mention)
Gonzalez-Torres, Felix

Graffiti Research Lab
Hirschhorn, Thomas 
Höller, Carsten 
Huyghe, Pierre (mention)
Institute of Infinitely Small Things
Iwai, Toshio 
Janssens, Ann Veronica 
Judd, Donald
Knifeandfork: Sue Huang & Brian House
Kounellis, Jannis
Lozano-Hemmer, Rafael: Vectorial Elevation, Body Movies
Manzoni, Piero
Matthews, Kaffe
McCarthy, Paul 
Oda Projesi
Pastor, Jennifer
Peterman, Dan 

Pfeiffer, Paul
Picasso, Pablo 

Raqs Media Collective and Sarai
Rhoades, Jason
Scher, Julia 
Schneider, Gregor
Shaw, Jeffrey 
Sierra, Santiago
Slominksi, Andreas
Starling, Simon 

Tiravanija, Rirkrit 
Starr, Georgina (mention)
Vuori, Eero-Tapio 
Rachel Whiteread 
Zittel, Andrea
Rafael Lozano-Hemmer, Body Movies, 2001. Participants take over the game via creative engagement, ignoring the rules set up by the artist.
Martin Creed, Work No. 227: The Lights Going On and Off, 2001, Tate Britain, London.
NN, 160 cm Line Tattooed on 4 People El Gallo Arte Contemporáneo. Salamanca, Spain. December 2000.
Santiago Sierra: Person Remunerated for a Period of 360 Consecutive Hours. 17 September – November 2000. P.S.1, New York.
Santiago Sierra, 700 cm of displacement for three blocks of 100 cm per side. Six people are hired to push one cubic metre blocks 700 cm.
„(…) Sierra’s tactics are relatively unique. His most effective method to date has been to find unemployed casual labourers who are prepared to do virtually anything for minimum wage. Once hired they are assigned by Sierra to especially meaningless and demeaning activities. What follows is a list of such activities: 
1. He paid drug-addicted prostitutes to have their backs tattooed for the price of a shot of heroin. 
2. He hired 200 immigrants of African, Asian and eastern European origin, all of whom had dark hair, for an ‘action’ in which their hair was bleached.
3. He hired a group of unemployed men to push concrete blocks from one end of a gallery to the other.
4. In an exhibition at P.S.1, New York, Person Remunerated for a Period of 360 Consecutive Hours Sierra hired a person to live behind a brick wall 24 hours a day for 15 days (September 17 – October 1, 2000) without having any further instructions or duties. P.S.1 staff slid food under a narrow opening at the base of the wall. The individual behind the wall was generally invisible to the audience but was allowed to relate to the other side through the small opening in the wall. (…)“

„(…) The same can be said for Santiago Sierra, who like (Thomas) Hirschhorn is another contemporary art star who appears to be lauded in part due to the socio-political ramifications of his work. (…) like Maurizio Cattelan he appreciates that as a fine artist his social critiques are deeply compromised: (…)
(…) writing of the 1990s and early 2000s one might call the work of Hirschhorn and Sierra ‘social sculpture’. The term ‘social sculpture’ was coined by Joseph Beuys and it carries within it Beuys’ counter-rational, post-Duchampian (Marcel Duchamp related) romanticism. The phrase implies that art can do something for society when the real question is what can society do for art. Which is to say artists need to explore the world outside the doors of the museum in order to escape the self-reflexive absorption of l’art pour l’art that plagues much contemporary deconstructive art. (…)“ (textexrpsof the website)

Bild als Einrichtungsgegensstand
Moderne Museen 
Skulpturen – Moderne Plastik
Gestaltung der Situation
Mitwirkung des Betrachters 
Kinematische Wahrnehmung
Strategie Orts-Situationsspezifik
Environment Selbstperformanz 
Haegue Yang
Jenny Holzer
Danica Dakic 
Yael Bartana 
Claude Monet 
Piet Mondrian 
El Lissitzky 
Kurt Schwitters 
Marcel Duchamp
Poster: Lernschritte (Montagevorlage)

Theorie der Installation 
a) Situative Erfahrungsgestaltung 
Theatralität und Situation 
Kinematische Wahrnehmung 
b) Modelle situativer Erfahrungsgestaltung 
Installation der historischen Avantgarde 
a) Vom Bild zum Raum: Claude Monet 
Innerbildliche Raumerweiterung 
Raum in Bilderserien
b) Raum als Sehen: Piet Mondrian 
Atelier als Werk – Gemälde als Surrogat des Atelierraums 
Atelier als Bildmotiv 
Von architektonischem Interieur zum Raum-als-Bild 
Rautenbilder und Raumwahrnehmung 
Eliminierung der Diagonale: Körperloses Sehen
c) Raum als Bewegung: El Lissitzky
Dynamischer Bildraum
   Von der Bildhängung zur Installation: Malewitschs Ikone 
Demonstrationsraum als Betrachteraktivierung
d) Raum als In-Szenierung: Kurt Schwitters 
Entstehung des Merzbaus
Der Merzbau als Work in Progress 
Ins-Zenierung des Künstlers und Erfahrungsraum
e) Die Erfindung der Installation: Marcel Duchamp
Von der Malerei der Bewegung zu mobilen Raum-Apparaten
Das Glasbild als betrachterbezogene Raum-Maschine
„Framing“: in situ Ready-made
Von der mise-en-scène zur polysensuellen Vorrichtung 
Fotografie als „installation view“
Das kinematische Dispositiv und die körperbezogene Sehinstallation 

„The 30-metre high Vitra Slide Tower by the German object and installation artist Carsten Höller, located at the Álvaro-Siza-Promenade which connects the VitraHaus by Herzog & de Meuron with Zaha Hadid’s Fire Station.“ (textecxerpt oft the webpage)


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