Bogomir Ecker who has shown at documenta and is a member of the Berlin Akademie der Künste, made his name with art in public spaces and context-related sculptures and installations. His works are characterised by an input of scientific points of view. Their themes are sense perception and communication, in particular sight and hearing, and they are frequently technical or apparatus-like in character, without being centred on technology for its own sake. It is rather the medium through whose putative recognition-value the viewer is induced to adopt unaccustomed perspectives.

Bogomir Ecker who has shown at documenta and is a member of the Berlin Akademie der Künste, made his name with art in public spaces and context-related sculptures and installations. His works are characterised by an input of scientific points of view. Their themes are sense perception and communication, in particular sight and hearing, and they are frequently technical or apparatus-like in character, without being centred on technology for its own sake. It is rather the medium through whose putative recognition-value the viewer is induced to adopt unaccustomed perspectives.

Bogomir Ecker who has shown at documenta and is a member of the Berlin Akademie der Künste, made his name with art in public spaces and context-related sculptures and installations. His works are characterised by an input of scientific points of view. Their themes are sense perception and communication, in particular sight and hearing, and they are frequently technical or apparatus-like in character, without being centred on technology for its own sake. It is rather the medium through whose putative recognition-value the viewer is induced to adopt unaccustomed perspectives.

The work of Jenny Holzer is always addressed to a broad public. In 1977 she carried out her first anonymous poster campaign with so-called Truisms, self-evident truths and “sound, common sense” statements. Other mediums such as benches, stickers or T-shirts were soon added. In 1982 she used the electronic signboard on Times Square in New York. In her works she pursues the goal of subverting the messages of the advertising and media worlds, exploiting the reading and seeing habits of passers-by to confront them with surprising messages. In 1990 she received the Golden Lion as the first American artist at the Venice Biennale.

The work of Jenny Holzer is always addressed to a broad public. In 1977 she carried out her first anonymous poster campaign with so-called Truisms, self-evident truths and “sound, common sense” statements. Other mediums such as benches, stickers or T-shirts were soon added. In 1982 she used the electronic signboard on Times Square in New York. In her works she pursues the goal of subverting the messages of the advertising and media worlds, exploiting the reading and seeing habits of passers-by to confront them with surprising messages. In 1990 she received the Golden Lion as the first American artist at the Venice Biennale.

Stefan Kern locates his works with fine irony on the borderline between art and design, between the pure aesthetics of the object and practical usefulness, thus addressing the old question of the “function” of art. His works are formally related to models such as Donald Judd, Sol LeWitt or Carl Andre, but they seriously subvert the excessively theory-bound strategies of Minimal Art, in that Kern makes art in the form of “furnishings” accessible and available for practical use. His works are mostly objects or installations, e.g. speaker’s lectern or a form of seating of decidedly communicative and physically responsive character.

Stefan Kern locates his works with fine irony on the borderline between art and design, between the pure aesthetics of the object and practical usefulness, thus addressing the old question of the “function” of art. His works are formally related to models such as Donald Judd, Sol LeWitt or Carl Andre, but they seriously subvert the excessively theory-bound strategies of Minimal Art, in that Kern makes art in the form of “furnishings” accessible and available for practical use. His works are mostly objects or installations, e.g. speaker’s lectern or a form of seating of decidedly communicative and physically responsive character.

Stefan Kern locates his works with fine irony on the borderline between art and design, between the pure aesthetics of the object and practical usefulness, thus addressing the old question of the “function” of art. His works are formally related to models such as Donald Judd, Sol LeWitt or Carl Andre, but they seriously subvert the excessively theory-bound strategies of Minimal Art, in that Kern makes art in the form of “furnishings” accessible and available for practical use. His works are mostly objects or installations, e.g. speaker’s lectern or a form of seating of decidedly communicative and physically responsive character.

Stefan Kern locates his works with fine irony on the borderline between art and design, between the pure aesthetics of the object and practical usefulness, thus addressing the old question of the “function” of art. His works are formally related to models such as Donald Judd, Sol LeWitt or Carl Andre, but they seriously subvert the excessively theory-bound strategies of Minimal Art, in that Kern makes art in the form of “furnishings” accessible and available for practical use. His works are mostly objects or installations, e.g. speaker’s lectern or a form of seating of decidedly communicative and physically responsive character.

Deep probing examination of the borders between art and architecture, design and sculpture, the everyday and aesthetic autonomy is characteristic of the work of Jorge Pardo. Living today in Los Angeles and New York, he moves majestically between genres. His objects, installations and pictures seem to be familiar and draw in the viewer, and yet they open up a wide field of associations. Are they readymades, designer objects or architectural sculpture? Pardo calls the nature of his work into question by integrating everyday life into his art in beautiful colours, “very cool, not at all emotional”.

Deep probing examination of the borders between art and architecture, design and sculpture, the everyday and aesthetic autonomy is characteristic of the work of Jorge Pardo. Living today in Los Angeles and New York, he moves majestically between genres. His objects, installations and pictures seem to be familiar and draw in the viewer, and yet they open up a wide field of associations. Are they readymades, designer objects or architectural sculpture? Pardo calls the nature of his work into question by integrating everyday life into his art in beautiful colours, “very cool, not at all emotional”.

Deep probing examination of the borders between art and architecture, design and sculpture, the everyday and aesthetic autonomy is characteristic of the work of Jorge Pardo. Living today in Los Angeles and New York, he moves majestically between genres. His objects, installations and pictures seem to be familiar and draw in the viewer, and yet they open up a wide field of associations. Are they readymades, designer objects or architectural sculpture? Pardo calls the nature of his work into question by integrating everyday life into his art in beautiful colours, “very cool, not at all emotional”.

Deep probing examination of the borders between art and architecture, design and sculpture, the everyday and aesthetic autonomy is characteristic of the work of Jorge Pardo. Living today in Los Angeles and New York, he moves majestically between genres. His objects, installations and pictures seem to be familiar and draw in the viewer, and yet they open up a wide field of associations. Are they readymades, designer objects or architectural sculpture? Pardo calls the nature of his work into question by integrating everyday life into his art in beautiful colours, “very cool, not at all emotional”.