After working as journalist, photographer, art-theorist and gallery owner, Dan Graham only turned to a career in the arts in the mid-1960s. His first efforts were literary works with a conceptual background, then films and performances, and from 1970 video installations in which the viewer himself became the object of his own reflection. Since the 1976 Venice Biennale he has worked in terms of open-air installations, using walls of glass and mirror glass to create complex, partly isolating effects of self-observation. The formal elegance and the depth of meaning of his work makes him one of the most important conceptual artists of the present day.

After working as journalist, photographer, art-theorist and gallery owner, Dan Graham only turned to a career in the arts in the mid-1960s. His first efforts were literary works with a conceptual background, then films and performances, and from 1970 video installations in which the viewer himself became the object of his own reflection. Since the 1976 Venice Biennale he has worked in terms of open-air installations, using walls of glass and mirror glass to create complex, partly isolating effects of self-observation. The formal elegance and the depth of meaning of his work makes him one of the most important conceptual artists of the present day.

After working as journalist, photographer, art-theorist and gallery owner, Dan Graham only turned to a career in the arts in the mid-1960s. His first efforts were literary works with a conceptual background, then films and performances, and from 1970 video installations in which the viewer himself became the object of his own reflection. Since the 1976 Venice Biennale he has worked in terms of open-air installations, using walls of glass and mirror glass to create complex, partly isolating effects of self-observation. The formal elegance and the depth of meaning of his work makes him one of the most important conceptual artists of the present day.

After working as journalist, photographer, art-theorist and gallery owner, Dan Graham only turned to a career in the arts in the mid-1960s. His first efforts were literary works with a conceptual background, then films and performances, and from 1970 video installations in which the viewer himself became the object of his own reflection. Since the 1976 Venice Biennale he has worked in terms of open-air installations, using walls of glass and mirror glass to create complex, partly isolating effects of self-observation. The formal elegance and the depth of meaning of his work makes him one of the most important conceptual artists of the present day.

After working as journalist, photographer, art-theorist and gallery owner, Dan Graham only turned to a career in the arts in the mid-1960s. His first efforts were literary works with a conceptual background, then films and performances, and from 1970 video installations in which the viewer himself became the object of his own reflection. Since the 1976 Venice Biennale he has worked in terms of open-air installations, using walls of glass and mirror glass to create complex, partly isolating effects of self-observation. The formal elegance and the depth of meaning of his work makes him one of the most important conceptual artists of the present day.

After working as journalist, photographer, art-theorist and gallery owner, Dan Graham only turned to a career in the arts in the mid-1960s. His first efforts were literary works with a conceptual background, then films and performances, and from 1970 video installations in which the viewer himself became the object of his own reflection. Since the 1976 Venice Biennale he has worked in terms of open-air installations, using walls of glass and mirror glass to create complex, partly isolating effects of self-observation. The formal elegance and the depth of meaning of his work makes him one of the most important conceptual artists of the present day.

After working as journalist, photographer, art-theorist and gallery owner, Dan Graham only turned to a career in the arts in the mid-1960s. His first efforts were literary works with a conceptual background, then films and performances, and from 1970 video installations in which the viewer himself became the object of his own reflection. Since the 1976 Venice Biennale he has worked in terms of open-air installations, using walls of glass and mirror glass to create complex, partly isolating effects of self-observation. The formal elegance and the depth of meaning of his work makes him one of the most important conceptual artists of the present day.

With 100 solo and numerous important group exhibitions such as documenta, the Venice Biennale or Skulptur Projekte Münster, Ulrich Rückriem counts as one of the most important sculptors in the second half of the 20th century. As far back as the 1960s he was one of the most interesting exponents of Minimalism in Europe. He was a major influence on the development of modern sculpture, in that he turned entirely away from classical subjects and techniques of traditional figurative sculpture to explore the fundamental problems of the genre: size, volume, material and their relationship to the surrounding space.

With 100 solo and numerous important group exhibitions such as documenta, the Venice Biennale or Skulptur Projekte Münster, Ulrich Rückriem counts as one of the most important sculptors in the second half of the 20th century. As far back as the 1960s he was one of the most interesting exponents of Minimalism in Europe. He was a major influence on the development of modern sculpture, in that he turned entirely away from classical subjects and techniques of traditional figurative sculpture to explore the fundamental problems of the genre: size, volume, material and their relationship to the surrounding space.

With 100 solo and numerous important group exhibitions such as documenta, the Venice Biennale or Skulptur Projekte Münster, Ulrich Rückriem counts as one of the most important sculptors in the second half of the 20th century. As far back as the 1960s he was one of the most interesting exponents of Minimalism in Europe. He was a major influence on the development of modern sculpture, in that he turned entirely away from classical subjects and techniques of traditional figurative sculpture to explore the fundamental problems of the genre: size, volume, material and their relationship to the surrounding space.

With 100 solo and numerous important group exhibitions such as documenta, the Venice Biennale or Skulptur Projekte Münster, Ulrich Rückriem counts as one of the most important sculptors in the second half of the 20th century. As far back as the 1960s he was one of the most interesting exponents of Minimalism in Europe. He was a major influence on the development of modern sculpture, in that he turned entirely away from classical subjects and techniques of traditional figurative sculpture to explore the fundamental problems of the genre: size, volume, material and their relationship to the surrounding space.

The central feature of the work of Bernar Venet, which covers many mediums, is dynamism. It governs his activities in all fields: painting, installation, design, concrete music, as well as theoretical writings, but above all it characterises his large-scale steel sculptures. The different programmatic groups of work shift between two diametrically opposed positions, one systematic, the other random. The element that provides structure is line (ligne terminée or ligne déterminée), which takes the form of a curved or bent band, rod or bar of steel. He took part in documenta in 1977 and in the Venice Biennale in 1978, and he achieved international recognition in the 1990s.

The central feature of the work of Bernar Venet, which covers many mediums, is dynamism. It governs his activities in all fields: painting, installation, design, concrete music, as well as theoretical writings, but above all it characterises his large-scale steel sculptures. The different programmatic groups of work shift between two diametrically opposed positions, one systematic, the other random. The element that provides structure is line (ligne terminée or ligne déterminée), which takes the form of a curved or bent band, rod or bar of steel. He took part in documenta in 1977 and in the Venice Biennale in 1978, and he achieved international recognition in the 1990s.

The central feature of the work of Bernar Venet, which covers many mediums, is dynamism. It governs his activities in all fields: painting, installation, design, concrete music, as well as theoretical writings, but above all it characterises his large-scale steel sculptures. The different programmatic groups of work shift between two diametrically opposed positions, one systematic, the other random. The element that provides structure is line (ligne terminée or ligne déterminée), which takes the form of a curved or bent band, rod or bar of steel. He took part in documenta in 1977 and in the Venice Biennale in 1978, and he achieved international recognition in the 1990s.

The central feature of the work of Bernar Venet, which covers many mediums, is dynamism. It governs his activities in all fields: painting, installation, design, concrete music, as well as theoretical writings, but above all it characterises his large-scale steel sculptures. The different programmatic groups of work shift between two diametrically opposed positions, one systematic, the other random. The element that provides structure is line (ligne terminée or ligne déterminée), which takes the form of a curved or bent band, rod or bar of steel. He took part in documenta in 1977 and in the Venice Biennale in 1978, and he achieved international recognition in the 1990s.

The central feature of the work of Bernar Venet, which covers many mediums, is dynamism. It governs his activities in all fields: painting, installation, design, concrete music, as well as theoretical writings, but above all it characterises his large-scale steel sculptures. The different programmatic groups of work shift between two diametrically opposed positions, one systematic, the other random. The element that provides structure is line (ligne terminée or ligne déterminée), which takes the form of a curved or bent band, rod or bar of steel. He took part in documenta in 1977 and in the Venice Biennale in 1978, and he achieved international recognition in the 1990s.

Heimo Zobernig belongs to a generation of artists who submit the meaningfulness of System Art to sceptical scrutiny on the formal, narrative and reception levels. His works are created in conjunction with and are dependent from their site. From a dedicated avoidance of content, a web of meaning that is both self-referential and open, with numerous cross-references, arises. The Austrian artist dissects and analyses phenomena with almost scientific precision, and presents their component parts, not without humour, in new constellations, e.g. at documenta 9 and 10 and at the Venice Biennale in 2001.

Heimo Zobernig belongs to a generation of artists who submit the meaningfulness of System Art to sceptical scrutiny on the formal, narrative and reception levels. His works are created in conjunction with and are dependent from their site. From a dedicated avoidance of content, a web of meaning that is both self-referential and open, with numerous cross-references, arises. The Austrian artist dissects and analyses phenomena with almost scientific precision, and presents their component parts, not without humour, in new constellations, e.g. at documenta 9 and 10 and at the Venice Biennale in 2001.

Heimo Zobernig belongs to a generation of artists who submit the meaningfulness of System Art to sceptical scrutiny on the formal, narrative and reception levels. His works are created in conjunction with and are dependent from their site. From a dedicated avoidance of content, a web of meaning that is both self-referential and open, with numerous cross-references, arises. The Austrian artist dissects and analyses phenomena with almost scientific precision, and presents their component parts, not without humour, in new constellations, e.g. at documenta 9 and 10 and at the Venice Biennale in 2001.

Heimo Zobernig belongs to a generation of artists who submit the meaningfulness of System Art to sceptical scrutiny on the formal, narrative and reception levels. His works are created in conjunction with and are dependent from their site. From a dedicated avoidance of content, a web of meaning that is both self-referential and open, with numerous cross-references, arises. The Austrian artist dissects and analyses phenomena with almost scientific precision, and presents their component parts, not without humour, in new constellations, e.g. at documenta 9 and 10 and at the Venice Biennale in 2001.