Inv. nº 05-03
ART COLLART (Markus Diehl)

Métamorphose (ART COLLE 013)
Collage
200,0 x 189,5 cm
Signé : AC
1989
Rez-de-chaussée, foyer

Sur un panneau de contre-plaqué à revêtement
blanc sont systématiquement répartis au
total neuf cent auto-collants de forme ovale
dont chaque dessin intérieur représente un
papillon. La recommandation "Décollez ici
avec précaution" est imprimée dans un rectangle
qui constitue la tangente à toutes les formes
circulaires. La couleur de l'oeuvre entière
s'étend des auto-collants laissés en blanc dans
la partie inférieure gauche de l'image aux
auto-collants roses à jaunes. Les teintes passent
du jaune au rose pour revenir au jaune.
Au centre de l'illustration, on remarque un
rectangle composé de cercles verts à l'intérieur
de la surface formée d'auto-collants de
couleur jaune. Par le choix de ces motifs et de ces
couleurs, l'artiste entend symboliser les étapes
de la vie avant, pendant et après les études.




Inv. nº 05-08
ART COLLART (Markus Diehl)

10. Stock : 10ème étage (ART COLLE 025)
Collage
81,5 x 40,0 cm
Signé : AC
1990
10ème étage, bibliothèque de l'Institut de Philosophie

Sur un panneau de contre-plaqué à revêtement
blanc, 47 auto-collants au total, proches les
uns des autres, sont répartis en quatre bandes
verticales représentant une montre à quartz
LED. Les auto-collants des deux bandes extérieures
sont bleus, ceux des bandes intérieures
sont gris pâle. Lu horizontalement, les rangées
d'auto-collants symbolisent les différents
étages de la tour des philosophes dont le
dernier étage est représenté par un seul auto-collant
tout à fait à gauche. Sur les auto-collants
représentant le 10ème étage où se trouve l'Institut
de Philosophie, les montres sont dessinées
par des lignes discontinues, "parce que la
philosophie / la vérité est intemporelle"
Entretien avec Markus Diehl, 24.01.91.




Inv. nº 03-09
ART COLLART (Markus Diehl)

Reif für die Insel : Mûr pour l'île (ART COLLE 048)
Collage
84 x 84 cm
Signé : AC
1990
Restaurant universitaire Schlüterstraße

Sur un panneau de contre-plaqué carré à revêtement
blanc, un ensemble de 144 auto-collants
sont disposés étroitement les uns à coté des autres,
présentant sur une surface de base carrée
monochrome des champs d'images identiques,
ronds et décollables séparément : une côte
couverte de palmiers devant la vaste surface
de la mer; de plus dans la moitié supérieure de
l'arc de cercle la phrase "Reif für die Insel" :
Mûr pour l'île. La plupart des auto-collants
montrent le champ d'image dans une teinte
naturaliste devant un cadre bleu foncé. A de
nombreux endroits apparaissent toutefois de
légères variations de teintes ainsi que des
décalages de couleurs dûs à une erreur d'impression;
deux blocs contigus dans la moitié
droite de l'oeuvre montrent un champ d'image
dominé par des teintes rose orange. L'oeuvre
a été acquise en automne 1990.




2000, The second-best Hamburg is the zip code number.
81 x 115.5 cm
Sticker
Television Tower Hamburg
1989

The idea of hanging up the picture in hand
right at the top of the Television Tower
Hamburg, in the highest located room of the city,
fascinates me! The picture shows
"Hamburger", eatable ones, which are probably
better-known worldwide than the city
itself. I have used misprints as they are
created during the production of stickers.
Therefore the material used is not reproducible
in the same colors, it is unique. By
using these misprints I was able to recycle
difficult garbage, which is a hint to the
enviroumental issues of the city. The title
is to provoke a smile and to arise
simultaneously the question: "What's the
best of Hamburg?" The stress on 2000 is to
draw the readers's attention to the
forthcoming turn of the millenium. The number 2000
and Hamburg are closely connected with
each other. I am aware of the fact that the
picture cannot be seen by anybody, except
the people working there, because of its
special location. This is of no great
importance to me; to know that it is hanging there
is perfectly satisfactory. I would like
to thank here all the people who made this project
possible.




ART COLLART
FLAGS
143.5 x 160.5 cm
Sticker
Humboldt University Of Berlin
1989

Breathtaking processes changed the political
scene in 1989. The picture Flags refers to this
development. Subjection and liberation are
shown according to the line of sight, from left
to right and the other way round. The color
red symbolizes the blood which can or will be
shed during both events. - I have used
misprints as they are created during the production
of stickers. Therefore the material used
is not reproducible in the same colors, it is unique.
By using these misprints I was able to
recycle difficult garbage, which is a hint to the
enviroumental issues.






HAUPTBAHNHOF - KASSEL 1992



ART COLLART
HONECKERS SUPERMARKT. 1992
126 x 342 cm

17 x 32 = 544 AUFKLEBER

KASSEL HAUPTBAHNHOF
documenta 9




Zeitungsartikel

International Herald Tribune
  Saturday-Sunday, June 27-28, 1992



'Documenta' : Missing Edge




KASSEL, Germany - High-speed intercity
trains now arrive and depart from
a sleek, post-modern station at
Kassel-Wilhelmshöhe that reflects the new
geographical realities of a reunited
Germany. The original Hauptbahnhof,
or central station, is little more
than a decaying relic of the city's blemished
past - the forlorn survivor of Allied
bombings that flattened this administrative
center of the Third Reich, with its
strategic munitions factories. No sooner
had the city begun to rebuild than
the Cold War reduced it to a frontier
outpost within the shadow of the
East German border.
  What rescued the ugly duckling
from obscurity was an exhibit entitled
"documenta." In 1955 the half-ruined
Fridericianum - Europe's first public
museum - temporarily housed works
by 148 artists whose avant-garde spirit
had been ruthlessly suppressed by
the Nazis. With the second "documenta"
in 1959, the show had become far
more than an attempt to bridge the gulf
of the tyrannical past; it provocatively
hoisted the banner of artistic freedom
close by the Iron Curtain. And if
"documenta" would soon be known as the
most important show of international
trends and isms, the political dimension
was never lost on municipal, state
and federal authorities who jointly funded
the event.

  Not surprisingly, many "documenta"
watchers expected the current
installment to reflect the ideological
realignments that have once more
placed Kassel at the center of the
republic. In fact, East European artists
are conspicuously underrepresented
here, and only a single participant
from former East Germany - the
quirkily inventive, technically virtuoso
Via Lewandowski - has been included.
And even if Third World contributions
are more substantial than ever before,
there remains the uncomfortable
feeling that this show of shows has
once more crystallized around the
familiar Cologne-New York axis.

  Among the few works to reflect on
the reshaping of Europe is one that
most visitors are sure to miss.
Situated at the derelict Hauptbahnhof,
the work of ART COLLART
(a.k.a. Markus Diehl) is part of the city's
extensive parallel cultural program
but not an official part of "documenta."
COLLART, who works exclusively
with paste-ups of labels and stickers,
has created a vast collage entitled
"Honecker's Supermarket," using
labels from a defunct East German
product called Kunsthonig, which
translates both as "art honey" and
"artificial honey." It also recalls
Honecker's own disparaging nickname:
"Honnie." Collart's collage is a
provocative work: colorful, witty,
irreverent and symbolically stranded
in an obsolete building, over the
entrance to an empty waiting room.
  Though he is officially included
in Kassel's "unofficial" roster of events,
there were no funds for transporting
Collart's billboard-sized work. He
hitchhiked with it from Hamburg,
where a Korean trucker obligingly
gave him a lift.

It is an odd footnote to a "documenta"
that bristles with superlatives:
more than 1,000 works by nearly 200
artists from 38 different countries
occupy 12 buildings and 30 open-air
venues. Not counting construction
costs for a handsome new exhibition hall,
"documenta 9" boasts a budget
of 16 million Deutsch marks (about USD
10.2 million). (This does not
include the donations of private sponsors
who, for the first time, have
been permitted to wed their logos
to that of the show.) A total of
600.000 visitors are expected to
visit Kassel's unique "Museum of
100 Days" before it closes Sept. 20.


DAVID GALLOWAY



Video

Video documenta 9 / 00:38:59 / Kassel 1992
© Michael Aschenbrenner
( Honeckers S. bis 15:45 - Slow Motion bis 24:06 -
- DDR-Fotos bis 38:59 )




Audio

Audio documenta 9 / Ich habe... / 00:00:16
Erich Honecker



ART COLLART, kein neues Möbelhaus,
sondern der Name eines
Hamburger Künstlers, der sich selbst
als Kunstfigur begreift.
Seine Kunst nennt er
ART COLLE - geklebte Kunst.

Seit 1987 beschäftigt sich ART COLLART
mit einer neuen Form der Collage,
mit Aufklebern. Beim Sichten seines
Materials entwickelt er die Themen
seiner Werke. Aufkleber sind für ihn
die maschinell hergestellten Farbpigmente
seiner Bilder, die er zu Stukturen ordnet.
- Indem er die Informationsträger,
Warenzeichen, Etiketten einer anderen,
unbegründeten, nicht zwingenden
Bestimmung zuführt und sie durch
endloses Aneinanderreihen in eine
scheinbare Monotonie zwingt,
entsteht ein neuer Aggregatzustand
der vorhandenen Information
- Monotonie - Illusion der Wiederholung.

Seine Bilder machen die unbewußt
wahrgenommene Alltäglichkeit bewußt.
Auf den ersten Blick wirken
ART COLLARTS Bilder kühl. Sie fordern den
Betrachter heraus, laden ein zum
Nachdenken. ART COLLARTS Bilder sind
die sichtbar gemachte Grenze, zwischen
einer kaum noch wahrgenommenen
Außenwelt und uns selbst.

Der Aufkleber - vom zu beschreibenden
Objekt gelöst - wird sinnlos,
seine Botschaft geht ins Leere. Selbst
hundertfach multipliziert verweigert er
die Aussage. ART COLLARTS Arbeiten
leben von dieser vorläufigen
Zusammenhanglosigkeit. Durch die
künstlerische Kombination
von scheinbar identischem, überwindet
ART COLLART die ursprünglich
zugedachte Funktionen der Aufkleber
- schafft mit seinen Arbeiten
den Übergang zu einer neuen
sinnlichen Erfahrbarkeit.

Für den Hamburger Künstler ist es
wichtig, daß seine Werke im öffentlichen
Raum für Jederman frei zugänglich sind.
Wie z.B. in der Mensa
der UNI-Hamburg das Bild "Reif für die Insel".

ART COLLART: "Wo ein Bild hängt
ist für mich wichtig. Die Aussage wird
nicht nur über das Bild, sondern
auch über den von mir bestimmten
(Ausstellungs-)Ort transportiert. z.B.
Das Bild "10.Stock", es hängt im
10.Stock des philosophischen Seminars
der UNI-Hamburg. Bild und Ort
wurden Eins. Sie sind gleichberechtigte
Bestandteile meiner Arbeit. Das Bild
zeigt schematisiert den Philosophenturm.
Im 10.Stock fehlen die Uhren, hier
steht die Zeit still.
Philosophie und Wahrheit sind zeitlos."

In seiner Arbeit Metamorphose, die seit
1989 im Foyer des Philosophenturms
hängt stellen 900 Schmetterlingen
symbolisch den Wandel der Ansichten von
Studenten, vor - während und
nach dem Studium dar.

Wandel ist eine Konstante in den
Arbeiten des Hamburger Künstlers. -
ART COLLART und seine Kunst
ART COLLE sind Eins.




VOLKER PERSY HAMBURG - 1994



Fernsehbeitrag



Hamburg 1994 / 00:03:31 / TV N3 Hamburger Journal
Atelier am Grindel
Produktion Hegestraße
Uni HH Philosophen-Turm

Eine neue Form der Collage.


Wiederholung ist eine Illusion.

Jeder geklebte Aufkleber ist ein Zeit-Tresor,
bewahrt das Wertvollste,

Lebenszeit des Künstlers, Lebenszeit des Betrachters.






ART COLLART
SAU SAG ES. 1995
48" x 68"
14 x 16 = 224 AUFKLEBER
SAUSAGES / SAU SAG ES / GERMAN MEANING : "PIG SAY IT !"

DONNA BEAM FINE ART GALLERY AT UNLV






ART COLLART
SAU SAG ES. 1995
48" x 68"
14 x 16 = 224 AUFKLEBER
SAUSAGES / SAU SAG ES / GERMAN MEANING "PIG SAY IT !"

DONNA BEAM FINE ART GALLERY AT UNLV
PERMANENT PART OF THE COLLECTION




UNLV
University of Nevada Las Vegas
Sausages -> Sau sag es (!)
1995

Dear Art, on behalf of the Donna Beam Fine
Art Gallery of the University of Nevada Las
Vegas, I want to thank you for your generous
contribution of art to the gallery. The piece,
Sau sag es, 1995, collage on R-Matte insulation
board, 48'' x 68'', will be an important
addition to a growing collection of contemporary
art, and it is one of the first pieces in the
collection to have international significance.
It is understood that the gallery will hold the
piece, Sau sag es, as a promised gift to the
gallery. It will become a permanent part of
the collection should there be no sale of it
within a period of ten years. In the event of a
sale, a contribution of half the sale price
will be made to the Donna Beam Fine Art Gallery.
Thank you again for your generosity.
Sincerely yours,

JERRY A. SCHEFCIK




UNLV
University of Nevada Las Vegas
1990, 1995, 1996

ART COLLART - Enter to win, 0% fat, 100% fun.
16 oz. coffee and a 90-center donut. "Where
do You want to go today ?" Mixed messages:
Nothing Is Worth Anything ! Multiple misprints,
to the moon and back. He takes the cyberroute
US '96 to the donna beam fine art gallery,
espresso yourself ! Dedicated to B.B. and
Las Vegas. Nothing Is Worth Anything ! -
5'11'' x 16' / 180 x 494 cm. Sticker on
polystyrene, "An off Strip attraction, a Royal Flush
in art !" Some visitors get one original
ART COLLART sticker from a special edition. Art Collart
is a notorious Hamburg artist, who is also
based in Paris, Barcelona, Las Vegas and Madras.
He works exclusively with past-ups of labels
and stickers. He calls his Pop-art ART COLLE,
stucked art. During his art adventures,
ART COLLART creates a giga-plastic, art all over, part of
it all. Each stucked item can become one of
his sculptures, each candy bar in the supermarket,
or a New York City horse at Time Square.

1990 - 99 Hamburgers
1995 - Sau sag es
1996 - Nothing Is Worth Anything !




Royal Kensington Gardens
London
11/04/1997

London Crowns

German artist ART COLLART with one
of his nine panels depicting crowns
beneath the statue of Queen
Victoria in Kensington Gardens.

JOHN ROBERTSON




Royal Kensington Gardens
London
1997

London Crowns

Illegal (!)

The exhibition - London Crowns -
will be shown on the 21th of april 1997,
on a sunny day, 30 seconds,
from 11:00:00 am till 11:00:30 am
in front of the Queen Victoria Statue
at the Royal Kensington Gardens.






ART COLLART
HONECKERS SUPERMARKT. 1992
126 x 342 cm

17 x 32 = 544 AUFKLEBER

KASSEL HAUPTBAHNHOF
documenta 9








Zeitungsartikel



International Herald Tribune
  Saturday-Sunday, June 27-28, 1992



'Documenta' : Missing Edge




KASSEL, Germany - High-speed intercity trains now arrive and depart from
a sleek, post-modern station at Kassel-Wilhelmshöhe that reflects the new
geographical realities of a reunited Germany. The original Hauptbahnhof,
or central station, is little more than a decaying relic of the city's blemished
past - the forlorn survivor of Allied bombings that flattened this administrative
center of the Third Reich, with its strategic munitions factories. No sooner
had the city begun to rebuild than the Cold War reduced it to a frontier
outpost within the shadow of the East German border.
  What rescued the ugly duckling from obscurity was an exhibit entitled
"documenta." In 1955 the half-ruined Fridericianum - Europe's first public
museum - temporarily housed works by 148 artists whose avant-garde spirit
had been ruthlessly suppressed by the Nazis. With the second "documenta"
in 1959, the show had become far more than an attempt to bridge the gulf
of the tyrannical past; it provocatively hoisted the banner of artistic freedom
close by the Iron Curtain. And if "documenta" would soon be known as the
most important show of international trends and isms, the political dimension
was never lost on municipal, state and federal authorities who jointly funded
the event.

  Not surprisingly, many "documenta" watchers expected the current
installment to reflect the ideological realignments that have once more
placed Kassel at the center of the republic. In fact, East European artists
are conspicuously underrepresented here, and only a single participant
from former East Germany - the quirkily inventive, technically virtuoso
Via Lewandowski - has been included. And even if Third World contributions
are more substantial than ever before, there remains the uncomfortable
feeling that this show of shows has once more crystallized around the
familiar Cologne-New York axis.

  Among the few works to reflect on the reshaping of Europe is one that
most visitors are sure to miss. Situated at the derelict Hauptbahnhof,
the work of ART COLLART (a.k.a. Markus Diehl) is part of the city's
extensive parallel cultural program but not an official part of "documenta."
COLLART, who works exclusively with paste-ups of labels and stickers,
has created a vast collage entitled "Honecker's Supermarket," using
labels from a defunct East German product called Kunsthonig, which
translates both as "art honey" and "artificial honey." It also recalls
Honecker's own disparaging nickname: "Honnie." Collart's collage is a
provocative work: colorful, witty, irreverent and symbolically stranded
in an obsolete building, over the entrance to an empty waiting room.
  Though he is officially included in Kassel's "unofficial" roster of events,
there were no funds for transporting Collart's billboard-sized work. He
hitchhiked with it from Hamburg, where a Korean trucker obligingly
gave him a lift.

It is an odd footnote to a "documenta" that bristles with superlatives:
more than 1,000 works by nearly 200 artists from 38 different countries
occupy 12 buildings and 30 open-air venues. Not counting construction
costs for a handsome new exhibition hall, "documenta 9" boasts a budget
of 16 million Deutsch marks (about USD 10.2 million). (This does not
include the donations of private sponsors who, for the first time, have
been permitted to wed their logos to that of the show.) A total of
600.000 visitors are expected to visit Kassel's unique "Museum of
100 Days" before it closes Sept. 20.


DAVID GALLOWAY



Video



Video documenta 9 / 00:38:59 / Kassel 1992
© Michael Aschenbrenner
( Honeckers S. bis 15:45 - Slow Motion bis 24:06 - DDR-Fotos bis 38:59 )








Audio



Ich habe... / 00:00:16
Erich Honecker



         ART COLLE



ART COLLART, kein neues Möbelhaus, sondern der Name eines
Hamburger Künstlers, der sich selbst als Kunstfigur begreift.
Seine Kunst nennt er ART COLLE - geklebte Kunst.

Seit 1987 beschäftigt sich ART COLLART mit einer neuen Form der Collage,
mit Aufklebern. Beim Sichten seines Materials entwickelt er die Themen
seiner Werke. Aufkleber sind für ihn die maschinell hergestellten Farbpigmente
seiner Bilder, die er zu Stukturen ordnet. - Indem er die Informationsträger,
Warenzeichen, Etiketten einer anderen, unbegründeten, nicht zwingenden
Bestimmung zuführt und sie durch endloses Aneinanderreihen in eine
scheinbare Monotonie zwingt, entsteht ein neuer Aggregatzustand
der vorhandenen Information - Monotonie - Illusion der Wiederholung.

Seine Bilder machen die unbewußt wahrgenommene Alltäglichkeit bewußt.
Auf den ersten Blick wirken ART COLLARTS Bilder kühl. Sie fordern den
Betrachter heraus, laden ein zum Nachdenken. ART COLLARTS Bilder sind
die sichtbar gemachte Grenze, zwischen einer kaum noch wahrgenommenen
Außenwelt und uns selbst.

Der Aufkleber - vom zu beschreibenden Objekt gelöst - wird sinnlos,
seine Botschaft geht ins Leere. Selbst hundertfach multipliziert verweigert er
die Aussage. ART COLLARTS Arbeiten leben von dieser vorläufigen
Zusammenhanglosigkeit. Durch die künstlerische Kombination
von scheinbar identischem, überwindet ART COLLART die ursprünglich
zugedachte Funktionen der Aufkleber - schafft mit seinen Arbeiten
den Übergang zu einer neuen sinnlichen Erfahrbarkeit.

Für den Hamburger Künstler ist es wichtig, daß seine Werke im öffentlichen
Raum für Jederman frei zugänglich sind. Wie z.B. in der Mensa
der UNI-Hamburg das Bild "Reif für die Insel".

ART COLLART: "Wo ein Bild hängt ist für mich wichtig. Die Aussage wird
nicht nur über das Bild, sondern auch über den von mir bestimmten
(Ausstellungs-)Ort transportiert. z.B. Das Bild "10.Stock", es hängt im
10.Stock des philosophischen Seminars der UNI-Hamburg. Bild und Ort
wurden Eins. Sie sind gleichberechtigte Bestandteile meiner Arbeit. Das Bild
zeigt schematisiert den Philosophenturm. Im 10.Stock fehlen die Uhren, hier
steht die Zeit still. Philosophie und Wahrheit sind zeitlos."

In seiner Arbeit Metamorphose, die seit 1989 im Foyer des Philosophenturms
hängt stellen 900 Schmetterlingen symbolisch den Wandel der Ansichten von
Studenten, vor - während und nach dem Studium dar.

Wandel ist eine Konstante in den Arbeiten des Hamburger Künstlers. -
ART COLLART und seine Kunst ART COLLE sind Eins.




VOLKER PERSY - HAMBURG 1994







Fernsehbeitrag



Hamburg 1994 / 00:03:31 / TV N3 Hamburger Journal
Atelier am Grindel / Produktion Hegestraße / Uni HH Philosophen-Turm
Eine neue Form der Collage.




Wiederholung ist eine Illusion.



Jeder geklebte Aufkleber ist ein Zeit-Tresor,
bewahrt das Wertvollste,

Lebenszeit des Künstlers, Lebenszeit des Betrachters.




Markus Diehl (nom d'artiste : ART COLLART) est né en 19xx à Francfort-sur-le-Main. Après 1982,
il fit des ètudes de médecine; cinq années plus tard, il commenca la production artistique de
l' "ART COLLE" qu'il baptisa ainsi, une production "se définissant par des autocollants collés sur
des panneaux" (Markus Diehl dans ART COLLART présente l'ART COLLEé). Diehl présente ses
travaux dans son "Pop-Temple de Hambourg" et travaille avec des artistes de Paris, Barcelone,
Las Vegas et Madras (Chennai), Inde.




Inv. nº 05-03
ART COLLART (Markus Diehl)

Métamorphose (ART COLLE 013)
Collage
200,0 x 189,5 cm
Signé : AC
1989
Rez-de-chaussée, foyer

Sur un panneau de contre-plaqué à revêtement blanc sont systématiquement répartis au
total neuf cent auto-collants de forme ovale dont chaque dessin intérieur représente un
papillon. La recommandation "Décollez ici avec précaution" est imprimée dans un rectangle
qui constitue la tangente à toutes les formes circulaires. La couleur de l'oeuvre entière
s'étend des auto-collants laissés en blanc dans la partie inférieure gauche de l'image aux
auto-collants roses à jaunes. Les teintes passent du jaune au rose pour revenir au jaune.
Au centre de l'illustration, on remarque un rectangle composé de cercles verts à l'intérieur
de la surface formée d'auto-collants de couleur jaune. Par le choix de ces motifs et de ces
couleurs, l'artiste entend symboliser les étapes de la vie avant, pendant et après les études.




Inv. nº 05-08
ART COLLART (Markus Diehl)

10. Stock : 10ème étage (ART COLLE 025)
Collage
81,5 x 40,0 cm
Signé : AC
1990
10ème étage, bibliothèque de l'Institut de Philosophie

Sur un panneau de contre-plaqué à revêtement blanc, 47 auto-collants au total, proches les
uns des autres, sont répartis en quatre bandes verticales représentant une montre à quartz
LED. Les auto-collants des deux bandes extérieures sont bleus, ceux des bandes intérieures
sont gris pâle. Lu horizontalement, les rangées d'auto-collants symbolisent les différents
étages de la tour des philosophes dont le dernier étage est représenté par un seul auto-collant
tout à fait à gauche. Sur les auto-collants représentant le 10ème étage où se trouve l'Institut
de Philosophie, les montres sont dessinées par des lignes discontinues, "parce que la
philosophie / la vérité est intemporelle" Entretien avec Markus Diehl, 24.01.91.




Inv. nº 03-09
ART COLLART (Markus Diehl)

Reif für die Insel : Mûr pour l'île (ART COLLE 048)
Collage
84 x 84 cm
Signé : AC
1990
Restaurant universitaire Schlüterstraße

Sur un panneau de contre-plaqué carré à revêtement blanc, un ensemble de 144 auto-collants
sont disposés étroitement les uns à coté des autres, présentant sur une surface de base carrée
monochrome des champs d'images identiques, ronds et décollables séparément : une côte
couverte de palmiers devant la vaste surface de la mer; de plus dans la moitié supérieure de
l'arc de cercle la phrase "Reif für die Insel" : Mûr pour l'île. La plupart des auto-collants
montrent le champ d'image dans une teinte naturaliste devant un cadre bleu foncé. A de
nombreux endroits apparaissent toutefois de légères variations de teintes ainsi que des
décalages de couleurs dûs à une erreur d'impression; deux blocs contigus dans la moitié
droite de l'oeuvre montrent un champ d'image dominé par des teintes rose orange. L'oeuvre
a été acquise en automne 1990.

PROF. DR. KLAUS HERDING




2000, The second-best Hamburg is the zip code number.
81 x 115.5 cm
Sticker
Television Tower Hamburg
1989

The idea of hanging up the picture in hand right at the top of the Television Tower
Hamburg, in the highest located room of the city, fascinates me! The picture shows
"Hamburger", eatable ones, which are probably better-known worldwide than the city
itself. I have used misprints as they are created during the production of stickers.
Therefore the material used is not reproducible in the same colors, it is unique. By
using these misprints I was able to recycle difficult garbage, which is a hint to the
enviroumental issues of the city. The title is to provoke a smile and to arise
simultaneously the question: "What's the best of Hamburg?" The stress on 2000 is to
draw the readers's attention to the forthcoming turn of the millenium. The number 2000
and Hamburg are closely connected with each other. I am aware of the fact that the
picture cannot be seen by anybody, except the people working there, because of its
special location. This is of no great importance to me; to know that it is hanging there
is perfectly satisfactory. I would like to thank here all the people who made this project
possible.




ART COLLART
FLAGS
143.5 x 160.5 cm
Sticker
Humboldt University Of Berlin
1989

Breathtaking processes changed the political scene in 1989. The picture Flags refers to this
development. Subjection and liberation are shown according to the line of sight, from left
to right and the other way round. The color red symbolizes the blood which can or will be
shed during both events. - I have used misprints as they are created during the production
of stickers. Therefore the material used is not reproducible in the same colors, it is unique.
By using these misprints I was able to recycle difficult garbage, which is a hint to the
enviroumental issues.




Art at the University Hamburg
An Inventory
ISBN 3-927244-00-7
1991

Markus Diehl (artistic pseudonym: ART COLLART) was born in 19xx in xx. After 1982 he
studied medicine; he began five years later with artistic productions in what he called
"ART COLLE" which "is defined by stickers stuck on boards" Markus Diehl in: ART COLLART
presents ART COLLE.
Diehl, who presents his work in his "Hamburger Betriebsbüro" / Hamburg Company Office,
cooperates with artists in Paris, Barcelona, Las Vegas und Madras (Chennai), India.

PROF. DR. KLAUS HERDING




UNLV
University of Nevada Las Vegas
Sausages -> Sau sag es (!)
1995

Dear Art, on behalf of the Donna Beam Fine Art Gallery of the University of Nevada Las
Vegas, I want to thank you for your generous contribution of art to the gallery. The piece,
Sau sag es, 1995, collage on R-Matte insulation board, 48'' x 68'', will be an important
addition to a growing collection of contemporary art, and it is one of the first pieces in the
collection to have international significance. It is understood that the gallery will hold the
piece, Sau sag es, as a promised gift to the gallery. It will become a permanent part of
the collection should there be no sale of it within a period of ten years. In the event of a
sale, a contribution of half the sale price will be made to the Donna Beam Fine Art Gallery.
Thank you again for your generosity. Sincerely yours,

JERRY A. SCHEFCIK




UNLV
University of Nevada Las Vegas
1990, 1995, 1996

ART COLLART - Enter to win, 0% fat, 100% fun. 16 oz. coffee and a 90-center donut. "Where
do You want to go today ?" Mixed messages: Nothing Is Worth Anything ! Multiple misprints,
to the moon and back. He takes the cyberroute US '96 to the donna beam fine art gallery,
espresso yourself ! Dedicated to B.B. and Las Vegas. Nothing Is Worth Anything ! -
5'11'' x 16' / 180 x 494 cm. Sticker on polystyrene, "An off Strip attraction, a Royal Flush
in art !" Some visitors get one original ART COLLART sticker from a special edition. Art Collart
is a notorious Hamburg artist, who is also based in Paris, Barcelona, Las Vegas and Madras.
He works exclusively with past-ups of labels and stickers. He calls his Pop-art ART COLLE,
stucked art. During his art adventures, ART COLLART creates a giga-plastic, art all over, part of
it all. Each stucked item can become one of his sculptures, each candy bar in the supermarket,
or a New York City horse at Time Square.

1990 - 99 Hamburgers
1995 - Sau sag es
1996 - Nothing Is Worth Anything !




Royal Kensington Gardens
London
11/04/1997

London Crowns

German artist ART COLLART with one of his nine panels depicting crowns
beneath the statue of Queen Victoria in Kensington Gardens.

JOHN ROBERTSON




Royal Kensington Gardens
London
1997

London Crowns

Illegal (!)

The exhibition - London Crowns - will be shown on the 21th of april 1997,
on a sunny day, 30 seconds, from 11:00:00 am till 11:00:30 am
in front of the Queen Victoria Statue at the Royal Kensington Gardens.




Musée Picasso - Ssocapi Squat
Paris
1998












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