 ART COLLE _________________  _________________  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 _________________  ART COLLART 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. _________________ SAU SAG ES  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 _________________ 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 _________________  ART COLLART - HAMBURG 1997 _________________  ART COLLART AT SSOCAPI SQUAT BY POPAY - PARIS 1998 _________________ 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 _________________ BACK TO VITA BACK TO HOME |