Gerz Jochen: Kunst ist immer beides: Mensch und Gesellschaft im Gespräch mit Jochen Gerz. Die Idee, Monumente und Arbeiten für den öffentlichen Raum zu. Jochen Gerz ist ein deutscher Konzeptkünstler, der sein Leben zum großen Teil in Frankreich verbracht hat. Sein Werk dreht sich um das Verhältnis von Kunst und Leben, Geschichte und Erinnerung, um Begriffe wie Kultur, Gesellschaft, öffentlicher. Eine Ausstellung in Städten des Ruhrgebiets“, in Dortmund, Duisburg und Mülheim an der Ruhr Jochen Gerz. Performances, Installationen und Arbeiten im.
Gerz, JochenThis website is a work in progress. 30 works still need to be added. My name is Jochen Gerz. Find. Jochen Gerz. * geboren in Berlin, Deutschland lebt in Derryquin, Irland. Jochen Gerz lebte von 19in Paris und ist heute in Irland ansässig. Gerz Jochen: Kunst ist immer beides: Mensch und Gesellschaft im Gespräch mit Jochen Gerz. Die Idee, Monumente und Arbeiten für den öffentlichen Raum zu.
Jochen Gerz Une Biennale VideoMoving desktopbetty.com - Jochen Gerz - Teil 02 von 03 [DE] Schneedep. Hirscher Upon entering the darkened room, the gaze falls on a black "picture", which, surrounded by a vibrating light, appears to float in front of the wall.
Der 32-Jhrige ist emprt und Jochen Gerz fest: "Da brodelt die Zdf Der Alte Mediathek ja ganz schn. - Werke von Jochen Gerz kaufenJochen Gerz, 63 Jahre danach Graz, Bahnhof.
Barkadma , p. Fleck , pp. Kramer , pp. Ansel Mesnard , p. Asmuth 1, Baer-Bogenschütz 2, Crüwell Haase 3, Huther , Schneebeli Schossig Stöckmann Wagner 2, Young, , pp.
Young , pp. Kirchhoff , pp. Melvin , pp. Lupu , p. Robin Tilmann 1 Fau , pp. Lozano Hemmer , p. Bordeleau Callaghan Jones , pp.
Duva , pp. Stubblefield , pp. Stevens, Franck, Fazarkerley Redeker Bauerfeind , pp. Guigues , pp. Rosen Etter Vistrup Madsen Rousseau Baticka Heggren , pp.
Nayar Bougnoux Funken Heathcote Widrich Heathcote III: Schmidt-Wulffen , pp. Flügge , p. Lichtenstein , p. Raguez , pp. Abeele , pp.
Könneke Petzel Schmidt Wright Tipton , Schweitzer Pühringer , pp. Mesnard Gagliano , pp. V: Jones , pp. Saarbrücken , p. Blümler , p. Krempel , pp.
Klant , p. Spielmann , pp. Sneem on the Ring of Kerry and the Wild Atlantic Way: Paradise starts here. Here in Paradise is a public space exhibition by conceptual German artist Jochen Gerz, internationally known for his collaborative works on memory in France, Germany, England, Italy, Ireland and Austria.
The village is unique in as far as it features contemporary art in public space offered to a small community by heads of states, parliaments and private donors.
Whatever the reasons for its attraction, no place as small as Sneem shows the depth of migration and interchange in the European Union better.
Half of its population is made up of blow-ins, as the Irish call residents from abroad. The reasons are not as much the sculptures as the people of Sneem: they are speaking sculptures indeed.
This applies especially of course to his performances with or without an audience, whether in the exhibition space at galleries or museums, or outdoors in public space.
In , on the construction site of the future Charles de Gaulle Airport, Jochen Gerz shouted towards the camera and microphone from a distance of 60 metres until his voice failed, with Rufen bis zur Erschöpfung.
It shows a duel between the artist the "original" and the mechanism of media reproduction, the machine ultimately gaining the upper hand.
The media-critical aspect is also present in "Prometheus" , one of Gerz's "Greek Pieces", which confront with a dose of self- irony the European culture of representation.
Using a mirror, the artist directs the sun's rays toward the lens of a video camera that is filming him. The overexposure gradually deletes the recorded image.
The sight lines of two monitors, together with that of the cord, formed a cross shape. One end of the stretched rope was attached to the wall and the other penetrated the opposite wall into the next room, where it was, invisible to the audience, slung around the artist's neck.
If anyone touched the rope, this resulted in a painful tug on the artist's neck, an effect that could be seen on the monitors.
The performance played out as an "act of growing awareness in which the audience can comprehend what it means to watch, to participate in the action and to bear responsibility for what happens".
On several occasions, the performance was aborted when those present or the organisers cut the rope. The work takes aim at the "anaesthetising effect of the media and the resulting over-emphasis on the world of representation, which takes on an autonomy that swallows up reality".
In the s and 80s, Gerz created many installations for European as well as North American and Australian museums and public galleries that deal with the museum context itself.
We hear a runner breathing, the rattling of electric typewriters, and at intervals the sound of a camera shutter. On each table lies a copy of the same ring binder holding 50 photographs taken during a visit to the former Dachau concentration camp and documenting the language used in the museum.
In Jochen Gerz wrote the word "leben" to live with chalk for seven hours, filling the floor of the exhibition space Art Museum Bochum.
In order to view the work as a whole, the audience had to destroy it. One of Jochen Gerz's most important installations, Die Schwierigkeit des Zentaurs beim vom Pferd steigen, was featured at the 37th Venice Biennale alongside Joseph Beuys and Reiner Ruthenbeck in the German Pavillon.
The nine-metre-high and seven-metre-long Centaur , a wood structure covered in opaque photographic paint, was divided by a wall between two spaces.
The larger section had a flap near the floor through which the artist could enter the sculpture, where he spent several days. The eponymous original manuscript on the work, in mirror writing, was displayed on six desks.
Gerz's work for documenta 6 , Der Transsib. During the day journey from Moscow to Kabarovsk and back on the Trans-Siberian Railway , the train window remained shuttered, so that nothing outside could be seen from the compartment.
All other evidence of the journey was destroyed. At the documenta in Kassel, a room was set up with 16 chairs, before each of them a slate with his footprints.
This work aims at reaching the limits of conceptual art. Upon entering the darkened room, the gaze falls on a black "picture", which, surrounded by a vibrating light, appears to float in front of the wall.
The image is made up of 16 monitors arranged as a compact rectangular block at a distance of 30 centimetres from the wall — the screens facing the wall.
A crackling sound is audible, automatically suggesting fire and a threat. Those who venture a peek behind the tableau will note that the monitors show 16 lighted fireplaces.
The banality of this domestic idyll comes as a disappointment, contrasting sharply with the spectacle of fascination and horror generated by the concealment of the reality.
Jochen Gerz became known to audiences beyond the art world by way of his public pieces, created with the help of participants and, indeed, made possible by their contribution.
Since he has realised numerous public authorship pieces, including several unusual disappearing and invisible memorials in urban contexts, also referred to as "counter-monuments" or anti-monuments.
They hand the duty of memorialising back to the public, consuming themselves through their own temporality and then disappearing, only to reappear within the apparent paradox of an "invisible monument".
Developed with Esther Shalev-Gerz via an international competition organized by the city of Hamburg-Harburg , the "Monument against Fascism" a Jochen Gerz and Esther Shalev-Gerz collaboration was a social experiment with an uncertain outcome.
In a public square, the two artists erected column clad in lead beside which they provided a metal pencil and a panel with the following text translated in seven languages English, French, German, Russian, Turk, Arabic and Hebrew : "We invite the citizens of Harburg, and visitors to the town, to add their names here to ours.
In doing so we commit ourselves to remain vigilant. As more and more names cover this 12 metre-high lead column, it will gradually be lowered into the ground.
One day it will have disappeared completely and the site of the Harburg monument against fascism will be empty. In the long run, it is only we ourselves who can stand up against injustice.
Since , when the last stage of the monument was sunk into the ground, only a one-square-metre lead plate, the cap of the column, has been visible, along with an information board.
A photo sequence documents the process of its disappearance. The active participation and appropriation, which took a wide variety of forms, eventually led to the disappearance of the visible object over the years.
It was covered with some 70, names, entries and graffiti x loves y or "Foreigners Out! Swastikas and even traces of gunshots were found in the lead coating.
Jochen Gerz commented: "People, not monuments, are the places of memory. Starting in April , all 66 Jewish communities in both German States were invited to contribute to a monument by providing the names of the Jewish cemeteries where burials had been performed until Together with a group of students from the Art Academy of Saarbrücken, Gerz removed during the night cobblestones from the promenade leading to the Saarbrücken castle , seat of the regional parliament and former regional Nazi administration.
They replaced the stones in the alley while engraving the names of the Jewish cemeteries into the removed stones before returning them to where they had been taken from.
However, the stones were placed with the inscription facing down, so that the square remained unchanged and the monument invisible.
The complete number of cemeteries contributed by the Jewish communities had grown two years later to Like the monument in Hamburg-Harburg, the Saarbrücken monument is not visible, but must be realised by each person's own imagination.
Unlike the Harburg monument, however, this one was not created as a commissioned work but rather as an originally secret and illegal initiative that was only retroactively legalised by the regional parliament.
Navigation menu Personal tools Not logged in Talk Contributions Create account Log in. Namespaces Article Talk.
Views Read Edit View history. Main page Contents Current events Random article About Wikipedia Contact us Donate. Help Learn to edit Community portal Recent changes Upload file.