James Lee Byars (b. 1932 in Detroit; d. 1997 in Cairo) began his intensive investigation of Zen-Buddhism in 1957. He incorporated his findings into his artistic work, which represents a symbiosis of Conceptual Art, Minimalism and Fluxus. Early on Byars attempted visual representations of existential concepts with the intention of enabling the viewer to experience silence and emptiness. Byars reduced his sculptural œuvre to forms with an obvious symbolism (cone, circle, sickle, cuboid) which he invested with a mystical dimension by painting them in red, gold or black. Perfection, beauty and immateriality are among the central concepts of this “magician of silence”.

James Lee Byars (b. 1932 in Detroit; d. 1997 in Cairo) began his intensive investigation of Zen-Buddhism in 1957. He incorporated his findings into his artistic work, which represents a symbiosis of Conceptual Art, Minimalism and Fluxus. Early on Byars attempted visual representations of existential concepts with the intention of enabling the viewer to experience silence and emptiness. Byars reduced his sculptural œuvre to forms with an obvious symbolism (cone, circle, sickle, cuboid) which he invested with a mystical dimension by painting them in red, gold or black. Perfection, beauty and immateriality are among the central concepts of this “magician of silence”.

James Lee Byars (b. 1932 in Detroit; d. 1997 in Cairo) began his intensive investigation of Zen-Buddhism in 1957. He incorporated his findings into his artistic work, which represents a symbiosis of Conceptual Art, Minimalism and Fluxus. Early on Byars attempted visual representations of existential concepts with the intention of enabling the viewer to experience silence and emptiness. Byars reduced his sculptural œuvre to forms with an obvious symbolism (cone, circle, sickle, cuboid) which he invested with a mystical dimension by painting them in red, gold or black. Perfection, beauty and immateriality are among the central concepts of this “magician of silence”.

James Lee Byars (b. 1932 in Detroit; d. 1997 in Cairo) began his intensive investigation of Zen-Buddhism in 1957. He incorporated his findings into his artistic work, which represents a symbiosis of Conceptual Art, Minimalism and Fluxus. Early on Byars attempted visual representations of existential concepts with the intention of enabling the viewer to experience silence and emptiness. Byars reduced his sculptural œuvre to forms with an obvious symbolism (cone, circle, sickle, cuboid) which he invested with a mystical dimension by painting them in red, gold or black. Perfection, beauty and immateriality are among the central concepts of this “magician of silence”.

James Lee Byars (b. 1932 in Detroit; d. 1997 in Cairo) began his intensive investigation of Zen-Buddhism in 1957. He incorporated his findings into his artistic work, which represents a symbiosis of Conceptual Art, Minimalism and Fluxus. Early on Byars attempted visual representations of existential concepts with the intention of enabling the viewer to experience silence and emptiness. Byars reduced his sculptural œuvre to forms with an obvious symbolism (cone, circle, sickle, cuboid) which he invested with a mystical dimension by painting them in red, gold or black. Perfection, beauty and immateriality are among the central concepts of this “magician of silence”.

James Lee Byars (b. 1932 in Detroit; d. 1997 in Cairo) began his intensive investigation of Zen-Buddhism in 1957. He incorporated his findings into his artistic work, which represents a symbiosis of Conceptual Art, Minimalism and Fluxus. Early on Byars attempted visual representations of existential concepts with the intention of enabling the viewer to experience silence and emptiness. Byars reduced his sculptural œuvre to forms with an obvious symbolism (cone, circle, sickle, cuboid) which he invested with a mystical dimension by painting them in red, gold or black. Perfection, beauty and immateriality are among the central concepts of this “magician of silence”.

Why are things as they are? This question leads us directly to Andreas Slominski’s Der Parkplatz. The economy of means that is evident here was already characteristic of earlier works by the artist, who has twice participated in the Venice Biennale. Now comes this cunningly simple Der Parkplatz, almost crazy, given the elaborate working process it involved. For the paving was first only laid round the edges, and was then completed by a workman lying under the car. But the absurdity of the relationship of his works – such as Tierfallen – to their titles, ultimately leads to the question, “What is art?” The same question as is posed – not without irony – by his installations and performances.

Why are things as they are? This question leads us directly to Andreas Slominski’s Der Parkplatz. The economy of means that is evident here was already characteristic of earlier works by the artist, who has twice participated in the Venice Biennale. Now comes this cunningly simple Der Parkplatz, almost crazy, given the elaborate working process it involved. For the paving was first only laid round the edges, and was then completed by a workman lying under the car. But the absurdity of the relationship of his works – such as Tierfallen – to their titles, ultimately leads to the question, “What is art?” The same question as is posed – not without irony – by his installations and performances.

Why are things as they are? This question leads us directly to Andreas Slominski’s Der Parkplatz. The economy of means that is evident here was already characteristic of earlier works by the artist, who has twice participated in the Venice Biennale. Now comes this cunningly simple Der Parkplatz, almost crazy, given the elaborate working process it involved. For the paving was first only laid round the edges, and was then completed by a workman lying under the car. But the absurdity of the relationship of his works – such as Tierfallen – to their titles, ultimately leads to the question, “What is art?” The same question as is posed – not without irony – by his installations and performances.

Why are things as they are? This question leads us directly to Andreas Slominski’s Der Parkplatz. The economy of means that is evident here was already characteristic of earlier works by the artist, who has twice participated in the Venice Biennale. Now comes this cunningly simple Der Parkplatz, almost crazy, given the elaborate working process it involved. For the paving was first only laid round the edges, and was then completed by a workman lying under the car. But the absurdity of the relationship of his works – such as Tierfallen – to their titles, ultimately leads to the question, “What is art?” The same question as is posed – not without irony – by his installations and performances.

With her pictures, drawings and small sculptures, as well as with large sculptures and objects, installations and video works, which she puts together in exhibitions to form comprehensive conceptions the artist is pursuing strategies that cross the frontiers between mediums. Conflicting elements, such as (living) trees and a (dead) metal nose, Trockel integrates spatially and as a matter of content into a disturbing ensemble. The erotic connotations, allusions to the plight of the modern artist, the ironic, whimsical combination of sculpture and garden art – L’Arc de Triomphe goes far beyond levelling the threshold between nature and art.

With her pictures, drawings and small sculptures, as well as with large sculptures and objects, installations and video works, which she puts together in exhibitions to form comprehensive conceptions the artist is pursuing strategies that cross the frontiers between mediums. Conflicting elements, such as (living) trees and a (dead) metal nose, Trockel integrates spatially and as a matter of content into a disturbing ensemble. The erotic connotations, allusions to the plight of the modern artist, the ironic, whimsical combination of sculpture and garden art – L’Arc de Triomphe goes far beyond levelling the threshold between nature and art.

With her pictures, drawings and small sculptures, as well as with large sculptures and objects, installations and video works, which she puts together in exhibitions to form comprehensive conceptions the artist is pursuing strategies that cross the frontiers between mediums. Conflicting elements, such as (living) trees and a (dead) metal nose, Trockel integrates spatially and as a matter of content into a disturbing ensemble. The erotic connotations, allusions to the plight of the modern artist, the ironic, whimsical combination of sculpture and garden art – L’Arc de Triomphe goes far beyond levelling the threshold between nature and art.

With her pictures, drawings and small sculptures, as well as with large sculptures and objects, installations and video works, which she puts together in exhibitions to form comprehensive conceptions the artist is pursuing strategies that cross the frontiers between mediums. Conflicting elements, such as (living) trees and a (dead) metal nose, Trockel integrates spatially and as a matter of content into a disturbing ensemble. The erotic connotations, allusions to the plight of the modern artist, the ironic, whimsical combination of sculpture and garden art – L’Arc de Triomphe goes far beyond levelling the threshold between nature and art.

With her pictures, drawings and small sculptures, as well as with large sculptures and objects, installations and video works, which she puts together in exhibitions to form comprehensive conceptions the artist is pursuing strategies that cross the frontiers between mediums. Conflicting elements, such as (living) trees and a (dead) metal nose, Trockel integrates spatially and as a matter of content into a disturbing ensemble. The erotic connotations, allusions to the plight of the modern artist, the ironic, whimsical combination of sculpture and garden art – L’Arc de Triomphe goes far beyond levelling the threshold between nature and art.

With her pictures, drawings and small sculptures, as well as with large sculptures and objects, installations and video works, which she puts together in exhibitions to form comprehensive conceptions the artist is pursuing strategies that cross the frontiers between mediums. Conflicting elements, such as (living) trees and a (dead) metal nose, Trockel integrates spatially and as a matter of content into a disturbing ensemble. The erotic connotations, allusions to the plight of the modern artist, the ironic, whimsical combination of sculpture and garden art – L’Arc de Triomphe goes far beyond levelling the threshold between nature and art.

With her pictures, drawings and small sculptures, as well as with large sculptures and objects, installations and video works, which she puts together in exhibitions to form comprehensive conceptions the artist is pursuing strategies that cross the frontiers between mediums. Conflicting elements, such as (living) trees and a (dead) metal nose, Trockel integrates spatially and as a matter of content into a disturbing ensemble. The erotic connotations, allusions to the plight of the modern artist, the ironic, whimsical combination of sculpture and garden art – L’Arc de Triomphe goes far beyond levelling the threshold between nature and art.