 MARKUS DIEHL KUNST MIT AUFKLEBERN AUS DEN 80-ER UND 90-ER JAHREN ABFALL RECYCLING CO2 NEUTRAL NACHHALTIG  ISBN 3-927244-00-7 Markus Diehl (Künstlername: ART COLLART) wurde 1957 in Frankfurt a.M. geboren. Nach 1982 studierte er Medizin; fünf Jahre später begann er mit der künstlerischen Produktion in der von ihm so benannten "ART COLLE", die sich "definiert durch Aufkleber, die auf Platten geklebt werden" (Markus Diehl in: ART COLLART präsentiert ART COLLE). Diehl, der seine Arbeiten in seinem "Hamburger Betriebsbüro" zeigt, arbeitet mit Künstlern in Paris, Barcelona, Las Vegas und Madras (Indien) zusammen. Kunstgeschichtliches Seminar der Universität Hamburg 1986/1987 PROF. DR. KLAUS HERDING 1987  FOTO BY JMS MARKUS DIEHL 1989 MODERNE KUNST MADE IN GERMANY HAMBURGER BETRIEBSBÜRO  AC ART COLLART ART COLLE HAMBURG PARIS BARCELONA LAS VEGAS MADRAS documenta 9, Kassel International Herald Tribune Saturday-Sunday, June 27-28, 1992 'Documenta' : Missing Edge By DAVID GALLOWAY 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.  MARKUS DIEHL 1997 RECYCLING STICKERS HEGESTRAßE HAMBURG  ATELIER 1998 RECYCLED STICKERS POP-TEMPLE HAMBURG  ATELIER 1998 KUNST MIT AUFKLEBERN POP-TEMPLE HAMBURG 1998  FOTO BY VALENTIN MARIA, PARIS MARKUS DIEHL AKA ART COLLART, SSOCAPI SQUAT PARIS 1998 KLEBEN UND KLEBEN LASSEN - unter diesem Aufruf verbindet 2003 der Künstler POP.AC die Retro-Essenzen der sozialen Plastik von Joseph Beuys mit der Repro-Maschinerie der Pop-factory von Andy Warhol. Die zumeist mit trivialen Botschaften versehenen PVC-Aufkleber werden bei POP.AC zu einem Signet der Vermassung als Metapher für unsere Kultur und der sie begleitenden (verschwindenden) Inhalte und werden wiederum einem höheren Sinn zugeführt. Solches gelingt dem Künstler erfrischenderweise, ohne sich lange mit peinlichen kulturkritischen Ermahnungen aufzuhalten. So symbolisieren die Kleber bei POP.AC die Integrierung des Einzelnen in der Masse; und mal wird das Individuum ausgelöscht, mal wird der Einzelwert des Einen herausgestellt. Dieses Spiel überträgt der Künstler POP.AC von seinen Aufklebern auf seine Mitmenschen, indem er sie auffordert, selbst zu Mitklebern zu werden. Seit der Entdeckung der subatomaren Quantenunschärfe von Heisenberg wissen wir, daß wir in einem kohärenten Universum (k)leben, in dem Alles mit Allem irgendwie zusammenklebt. Darum : LET'S STICK TOGETHER !!! HANS HUSHAN, QUICKBORN 2003  MARKUS DIEHL AKA POP.AC MADRAS - BIRTH OF A MEGACITY. 1991 183 x 204 cm 36 x 36 = 1296 STICKERS MADRAS GOVERNMENT MUSEUM EGMORE CHENNAI INDIA 2018 |