Archivio Conz

Archivio Conz Archivio Conz houses artworks, documents, editions and more from Fluxus, Lettrism and Concrete Poetry
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What a delight it was to host Esther Ferrer at Archivio Conz during our Living Room opening on April 28th! Esther perfor...
16/05/2023

What a delight it was to host Esther Ferrer at Archivio Conz during our Living Room opening on April 28th! Esther performed her own work 𝐏𝐞𝐫𝐟𝐨𝐫𝐦𝐚𝐧𝐜𝐞 𝐀𝐫𝐭: 𝐓𝐡𝐞𝐨𝐫𝐲 𝐚𝐧𝐝 𝐏𝐫𝐚𝐜𝐭𝐢𝐜𝐞 as part of our opening program. Esther's precise humor, spontaneity, and intuitive engagement playfully discomfited the audience (us), thoroughly subverting expectations of performance art.
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Stay tuned for the full video of 𝐏𝐞𝐫𝐟𝐨𝐫𝐦𝐚𝐧𝐜𝐞 𝐀𝐫𝐭: 𝐓𝐡𝐞𝐨𝐫𝐲 𝐚𝐧𝐝 𝐏𝐫𝐚𝐜𝐭𝐢𝐜𝐞 available soon on our social channels.
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And come by our Living Room for an espresso or grappa, and see Esther Ferrer's editions in person!
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LIVING ROOM is open to the public
Monday to Thursday, 2-5pm
and during office hours, by appointment
Monday to Friday, 10am-6pm
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Photos by Giorgia Palmisano

Some editions by Esther Ferrer currently on view at Archivio Conz's Living Room ➿⠀⠀⠀⠀⠀⠀⠀⠀⠀1. Pour un oui pour un non, 19...
11/05/2023

Some editions by Esther Ferrer currently on view at Archivio Conz's Living Room
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1. Pour un oui pour un non, 1983
Silkscreen on cloth
147 × 174 cm
Edition of 33
2. Concierto ZAJ para 60 voces #2, 1983
Silkscreen on cloth
123 × 250 cm
Edition of 33
3. Otra proposición ZAJ, 1983
Silkscreen on cloth
150 × 128 cm
Edition of 33

Photos by .wolf

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Esther Ferrer was a prominent member of ZAJ from 1967 onwards, experimenting with body, energy, objects, voice, ideas, and reasoning in her performances. Presence, space, and time intervene in her actions to elicit effects and interpretations from the viewer. Ferrer plays with unnerving the spectator, using the absurdity of the situation as a catalyst for action. Without intending to communicate anything, Ferrer urges spectators to find something, to invent their own stories and connections. From here, the presence of the person performing the action (Ferrer), the presence of those who receive and actively or passively participate in the action (the audience), and the space-time in which the action unfolds, together form the performance.

Archivio Conz is delighted to invite you to the newly opened Living Room, now open to the public on the ground floor of ...
09/05/2023

Archivio Conz is delighted to invite you to the newly opened Living Room, now open to the public on the ground floor of Lise-Meitner Str. 7-9 in North Charlottenburg, Berlin 10589 🍾
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We are open to the public with no appointment required
Monday to Thursday, 2-5pm
and during office hours by appointment.
Office hours are:
Monday to Friday, 10-6pm
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With the dual function of archive and gallery, Living Room at Archivio Conz will host public symposia, performances, and presentations, encounters with artists and scholars, while also presenting editions for sale from Edizioni Conz.
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Image: Francesco Conz at Feria d’Arte Frankfurt.
Image Courtesy of Archivio Conz.

Tomorrow  will perform 𝑵𝒂𝒕𝒖𝒓𝒂 𝑴𝒐𝒓𝒕𝒂 for the very first time at Archivio Conz. ⠀⠀⠀⠀⠀⠀⠀⠀⠀The choice to pair Natura Morta (...
27/04/2023

Tomorrow will perform 𝑵𝒂𝒕𝒖𝒓𝒂 𝑴𝒐𝒓𝒕𝒂 for the very first time at Archivio Conz.
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The choice to pair Natura Morta (on April 28) with Maneuvers for Small Hands (on April 29) in a series of two consecutive concerts chronicles the friendship, intellectual exchange, and mutual admiration between Marchetti and Ashley, witnessed firsthand by Chessa. In Chessa's words, "After his last performance at Mills College in Oakland, Robert Ashley asked me if I had played Natura Morta yet, given that for him it was one of the most moving piano pieces ever written. I remember telling him that I wasn’t ready. Today I am."
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Natura Morta (1980), composed by ZAJ co-founder Walter Marchetti, is an hour-long work written for a grand piano whose closed-top lid is entirely taken over by a cornucopia of fruit, vegetables, flowers, and bread. An almost shapeless, uninterrupted single line at first appears to proceed aimlessly. What is first perceived as non-directional, however, eventually reveals an inevitable teleology. The inexorable flow of life slowly unfolds, progressing towards the one certainty: that of one’s transience.
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Images: Zaj Group
Untitled
Inkjet print on foam board
Each: 99.5 × 140 cm
Photos of images by Giorgia Palmisano

07/04/2023

Archivio Conz is pleased to announce the opening of Living Room, on the ground floor of its space in North Charlottenburg, Berlin.

"We have to discuss prices of the projects, objects. But remember please NOTHING OF MINE SELLS FOR $100. NOTHING no p***...
08/03/2023

"We have to discuss prices of the projects, objects. But remember please NOTHING OF MINE SELLS FOR $100. NOTHING no p***c hair nail clippings blood stains vaginal smears socks old letters torn notes NOTHING it is demeaning incorrect a major artist looks like a shopkeeper with nonsense on sale...and nothing of the smallest concentration or discussion has left my studio for under a thousand dollars for several years...that is basic for my time, attention, history, vision, struggle, commitment...you have many artists, many projects but I grind every inch out of this one organism...my collectors don't imagine any one would sell something of mine for $100. I'm counting on your help and reflection. My prices will be parallel to Nitsch's soon, now, in the immediate future...why not?!?"
Carolee Schneemann to Francesco Conz, Dec. 15, 1990.
Source: Stiles, Kristine (editor). Correspondence Course: An epistolary History of Carolee Schneemann and her Circle. Durham: Duke University Press, 2010.
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Today we ask what it means to strike, not only as a woman, but as anyone who has to participate in structures complicit to gender binaries. What are the practices and principles, where are the limits and delimits in structures where inequality based on gender is inherent, where marginalization happens via immaterial labor and the struggle to be taken seriously. What are feminist practices of refusal that work without self-sabotaging one's already precarious career, while also resisting submission to gender representation?
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Image: Carolee Schneemann with her prints of Ice Naked Skating. Ph: Francesco Conz

Archivio Conz's archival procedure is attentive not only to historical and artistic coordinates but also to the conserva...
22/12/2022

Archivio Conz's archival procedure is attentive not only to historical and artistic coordinates but also to the conservation of testimony, in order to make all of the objects accessible over time. Upon discovering this nightshirt of Anna Banana, we had the opportunity to write to her personally and request a detailed account of the performance during which it was worn.
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Anna Banana responded writing, "...they are from my performance, Banana Communion, at the Sarenco Art Club in Verona in 1998, (part of a European tour that year.) This “communion” (a blessed slice of banana) was offered to and taken by a number of persons from the audience in my interactive performance during my European tour that year. It was presented along with a solo exhibit of my collage works, which were never returned or paid for by the proprietor, Sarenco. It was my understanding that he GAVE my works to the man who did the framing, in payment for his work. I was not aware that these photos from the performance had been printed on clothes!...Francesco was present for the performance, (not sure about this)...But do know he hosted me and my friend, travel companion Judith Hoffberg, in a building he owned in Verona. Apologies for this rather “jumbled” account of this event, and hope the information provided is useful to you."
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Along with archival research and references to theoretical and art historical documents, Archivio Conz privileges the personal stories, anecdotes, and reminiscenses of the artists in the collection. Stay tuned for more letters between artists, artists writing about other artists, and exchanges between the Archivio Conz team and the artists we are so honored to still have access to.
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Image:
Anna Banana
Untitled, 1999
(Pope Anna Banana)
Cloth, marker, print on cloth
72 × 103 × 3 cm
Photo: Giorgia Palmisano

In 1966, Serge Oldenbourg, who went by Serge III, gave his passport and suit to a soldier in Czechoslovakia, enabling th...
15/12/2022

In 1966, Serge Oldenbourg, who went by Serge III, gave his passport and suit to a soldier in Czechoslovakia, enabling the soldier to defect and successfully flee to the West. Serge III was subsequently arrested and sentenced. After fourteen months in prison, he was sent to France, exchanged for a Czech spy. In his 'Journal de prison', Serge writes, "Prison did not change me, I had always said that I was a free man with a prison around. On the other hand, I became aware of myself there, of a certain moral strength, of a certain solidity. I was more sure of myself. I also became aware that the essence of art is subversive, that the artistic gesture being a reaction of the individual against the environment, the goal, conscious or unconscious, of this gesture is to persuade this environment to modify itself." Serge's time in prison later led to a series of works reflecting on his time there, such as a series of self-portraits behind barbed wire.
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Does subverting authority and the state as artistic gesture remove agency from those at risk? What does it mean for artworks to situate themselves in light of the vulnerable? In these precarious times we reflect on these questions so as not to forget or overlook the very present trauma, and profound disillusionment of war.
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Image : Serge Oldenbourg photographed by Francesco Conz. Courtesy of

Repost from • is a Berlin-based institution dedicated to the presentation, promotion, and research of Fluxus, Concrete P...
13/12/2022

Repost from

is a Berlin-based institution dedicated to the presentation, promotion, and research of Fluxus, Concrete Poetry, and Lettrism. Archivio Conz was established in 2016 to catalogue, research, and restore the remarkable collection left behind by Francesco Conz (1935-2010), at once commissioner, curator, patron, and friend of artists. The collection includes over 4,000 works by around 300 international artists, as well as over 500 artist editions specially commissioned by Conz. Archivio Conz is working to make the entirety of this extraordinary archive available to the public and much of the collection is now accessible online. ⁠

A living archive, Archivio Conz also organizes exhibitions, events, talks, publications, and collaborations to contribute to a greater understanding of Fluxus, both with regard to its unique position in the canon of art history and to its peculiar relevance to the cultural and political issues of today.⁠

Archivio Conz holds work by some of the most important figures of the post-war avant-garde including Yoko Ono, Nam June Paik, Philip Corner, John Giorno, Carolee Schneemann, Allan Kaprow, Lawrence Ferlinghetti, Dick Higgins, Alison Knowles, Charlotte Moorman, Ben Patterson and many more.⁠

Archivio Conz⁠
Lise-Meitner-Str. 7/9⁠
10589 Berlin⁠

Opening hours:⁠
Monday–Friday, 10am–6pm⁠

1. Carolee Schneemann, More Than Meat Joy, 1978. Photo: Giorgia Palmisano.⁠


Today is the birthday of the prolific performance artist, painter, graphic designer, printmaker, and photographer Ann No...
24/11/2022

Today is the birthday of the prolific performance artist, painter, graphic designer, printmaker, and photographer Ann Noël (b. November 24, 1944) Noël is also a profound diarist, having intimately documented the history of Fluxus in her diary 𝑵𝒐ë𝒍 𝑩𝒆𝒓𝒍𝒊𝒏 𝑽𝒆𝒓𝒐𝒏𝒂 𝑪𝒐𝒏𝒛 published in 2009 by Archivio Conz. In her diary, Noël writes about the years spent with her husband, Emmett Williams, their Fluxus contemporaries, and activities with Francesco Conz, who commissioned many artworks and editions with the pair. Noël has lived in Berlin since the 1980's where she has collaborated with Emmett Williams and other Fluxus members on various festivals and exhibitions. She has taken part in numerous international exhibitions including Amsterdam Makkum (1985), Freie Berliner Kunstausstellung (1987), SIEBEN87, Wiesbaden (1988), Harlekin Art, Mai Fest-Once Wise Always a Fool, Galerie Rainer Masset Munich (1993), and the Liverpool Biennial (1999).
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In 2013, Noël was awarded the first museum FLUXUS+ medal
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Happy Birthday to you, Ann Noël! looks forward to seeing you soon 🥂🥂🥂🥂🥂

Among the nightgowns Conz commissioned as editions, are a collection of gowns silkscreened and individually painted over...
22/11/2022

Among the nightgowns Conz commissioned as editions, are a collection of gowns silkscreened and individually painted over by the late Lawrence Ferlinghetti (Bronxville, New York 1919— San Francisco, California, 2021).
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Today we share Lawrence Ferlinghetti's 𝒰𝓃𝒹𝑒𝓇𝓌𝑒𝒶𝓇 (𝒱𝓊𝑜𝒾 𝐹𝓁𝓊𝓍𝒶𝓇𝑒 𝒸𝑜𝓃 𝓂𝑒 '𝓈𝓉𝒶 𝓃𝑜𝓉𝓉𝑒?)
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Conz and Ferlinghetti first met in Florence in 1998 at a poets gathering hosted by the publishing house City Lights Italia, where Conz recognized Ferlinghetti as the "missing pearl in the necklace of personalities“. Following their meeting, Conz invited Ferlinghetti to Verona and proposed a show of his works which evolved into a long collaboration, connecting Ferlinghetti to Fluxus. It was in Verona with Conz where Ferlinghetti coined the term “Fluxare”, meaning “to make love without touching”, a term that is now officially part of the Italian language.
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Lawrence Ferlinghetti
Underwear (Vuoi Fluxare con me ´sta notte?), 2008
Paint, ink and marker on cloth
122 × 145 cm
Ph: Giorgia Palmisano
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"For the magnificent Francesco Conz, who manufactured The Crying Piece in his perfect way" Pittsburgh October, '91, Eric...
10/11/2022

"For the magnificent Francesco Conz, who manufactured The Crying Piece in his perfect way"
Pittsburgh October, '91, Eric (Andersen)
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Francesco Conz was fascinated with rare and precious materials and taking them from their original context. In an interview with Henry Martin in 1991, Conz remarked on his particular choices on materials for production, "For example, I’ve produced a work with Eric Andersen, a box containing his Crying Plate, which is a flat piece of marble with two small depressions in it – fine pink Verona marble - and I suggested to Eric that this plate should be presented in a beautifully crafted mahogany box with leather straps; I mean the work is all very secretive, and the box is lined with satin. Mahogany is right since it’s the wannest and most precious wood you can find, if in fact you can find it, and Eric did not say no, and insist on using plywood. Mahogany is now a very rare and expensive wood, not to mention the rarity of finding a carpenter who knows how to work with it, The artists are highly intrigued when I offer suggestion about the kinds of materials and craftsmanship that I can still make available."
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On crying, Andersen has expressed, "Crying is the only means of human communication that cannot be decoded and interpreted with certainty. You can observe a person Crying but can never determine why without additional information. It could be sadness, joy, pain, exhaustion, pleasure, relief or a particle of dust in the eye. However, if you analyze the hormones and crystals in each tear, you can with scientific certainty declare the specific reason for that particular Crying session."
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Stay tuned for more news coming soon about Eric Andersen, Archivio Conz, The Crying Piece, The Crying Place, and The Crying Stone!
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Image 2: Eric Andersen and Francesco Conz
Image 3: "Is this Francesco? - Eric"
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images courtesy of

Along with our vast collection of artworks, photographs, editions, recordings, and literature at Archivio Conz, we also ...
05/10/2022

Along with our vast collection of artworks, photographs, editions, recordings, and literature at Archivio Conz, we also house and preserve a significant collection of ephemera belonging to Francesco Conz and the artists he 'collected.' These rare and very special documents are intimate exhibitions in and of themselves, speaking to the nature of describing the ephemeral; how do we archive an experience?
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Today we feature images of correspondences between Conz and Anna Banana. Besides writing, publishing, and performance, Anna Banana was also part of the mail-art movement. Mail-art imitated postal correspondence with small-scale works that could fit inside an envelope, sent and circulated among artists, referred to by Anna Banana as 'postal parody' (first image) in an exhibition she curated of the international mail-art network. Anna Banana also pioneered the 'artistamp', using the postage stamp as a medium for her often satirical work (images 3, 5, and 7).
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Among these warm exchanges with Conz is the anticipation of the archive in the last image:
"Dear Francesco– Thanks for sending the Jean-François Bory book...a beautiful production. Glad to see you're still at it! Any news about the future of your archives? I'm hoping to have some work(s) from you on the upcoming 20th Anniversary Edition of International Art Post. Am I dreaming? Is it possible–a new block of 6 or 9 stamps featuring one of your artists...or a group of them–would be a striking edition..."

We are delighted to announce Esther Ferrer as this year's winner of the Prix Littéraire Bernard Heidsieck! On Thursday e...
13/09/2022

We are delighted to announce Esther Ferrer as this year's winner of the Prix Littéraire Bernard Heidsieck! On Thursday evening of last week, in collaboration with , we awarded the performance artist with the Prix d'Honneur for her significant contribution to non-book literature.
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Born in 1937 in San Sebastián (Spain) and living in Paris since the early 1970s, Esther Ferrer is a major figure in the art of the last fifty years, pioneering action and performance art.
This honorary prize rewards Ferrer’s deep commitment to language, to speech as well as to a poetry of gesture and action that has kept her current in the world of sound and performance poetry.
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In 1967, she joined ZAJ with Walter Marchetti and Juan Hidalgo. ZAJ's art, influenced by John Cage and Marcel Duchamp, is based on minimalist gestures and ordinary objects, and has given rise to numerous concerts, actions, publications and installations. Since 1967, Esther Ferrer has been invited to the most prestigious festivals to perform. She writes texts, like scores with notes and drawings; her measured gestures are organized in a musical and poetic way. From the 1970s onwards, she also developed a photographic and drawing practice. She creates canvases, thus ensuring a continuity between her performances and her plastic work. For Esther Ferrer, art is political as a place of affirmation, of the construction of the subject, the place of freedom in front of diktats of all kinds. In addition to numerous awards, she has also represented Spain at the Venice Biennale in 1999. Ferrer's artwork features prominently in the Conz collection.
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First image: Esther Ferrer, courtesy of
Second image: Esther Ferrer with handwritten note to Francesco Conz, from

Representing Archivio Conz on the Prix Littéraire Bernard Heidsieck jury, is the Berlin-based poet, author, and artist C...
08/09/2022

Representing Archivio Conz on the Prix Littéraire Bernard Heidsieck jury, is the Berlin-based poet, author, and artist Cia Rinne. In the spirit of non-book literary practice, Cia's multilingual minimalist texts reduce philosophical and linguistic questions to tonal sequences, playing with phonetic shifts in meaning. Her performances, exhibitions and sound installations have been shown internationally in galleries and museums. She is the author of four volumes of minimalist, conceptual and translingual poetry published in Sweden, Denmark, Germany, France, Switzerland and Canada, most recently sentences, shortlisted for the Prix du livre d’artiste Bob Calle. Cia is the laureate of the Prix littéraire Bernard Heidsieck-Centre Pompidou 2019.

We are thrilled to have Cia represent us in selecting the Prix d’Honneur and Prix de l‘Année which will be announced today!

Image 1: 𝐒𝐞𝐞𝐤𝐢𝐧𝐠 𝐂𝐨𝐦𝐟𝐨𝐫𝐭. 𝐕𝐚𝐫𝐢𝐚𝐭𝐢𝐨𝐧𝐬 𝐨𝐧 𝐌𝐮𝐧𝐚𝐫𝐢 𝐔
Image 2: film still from 𝐭𝐡𝐢𝐬 𝐬𝐞𝐧𝐭𝐞𝐧𝐜𝐞 𝐬𝐡𝐨𝐮𝐥𝐝 𝐛𝐞𝐡𝐚𝐯𝐞 𝐚𝐬 𝐞𝐱𝐩𝐞𝐜𝐭𝐞𝐝
Image 3: 𝐚𝐛é𝐜é𝐳𝐚𝐫𝐨𝐮𝐦

Bernard Heidsieck (1928–2014) was a French sound poet merging spoken word with a wide variety of recorded material, rede...
07/09/2022

Bernard Heidsieck (1928–2014) was a French sound poet merging spoken word with a wide variety of recorded material, redefining poetry through orality and existing technologies, advocating for "action poetry" and "poetry on its feet." His poetry readings frequently included an element of performance, such as physical gestures or the use of basic props. Heidsieck began performing his Poèmes-Partitions pieces in the mid-1950s, using typographical spacing to direct his performances, eventually expanding into experimentation with the tape recorder as a technique for writing and retransmitting.
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Francesco Conz was the first collector of Heidsieck, not only discovering but also collecting fragmented works from the early days, as also an "enlightened patron, support and cathartic eye," going on to commission and collaborate on multiples.
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With the Prix Littéraire Bernard Heidsieck, we are thrilled to honor and pay tribute to the artist's prolific contribution to the world of non-book literature.
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Image 1: Francesco Conz, François Janicot, John Giorno and Bernard Heidsieck, 2000
Image 2: Larry Miller, Conz, Heidsieck, and Hermann Nitsch, 1990
Image 3: Conz, Heidsieck, and Alain Satié, 2002

We look forward to celebrating the .wiesbaden reopening on July 14th with the milestone exhibition and research project ...
22/06/2022

We look forward to celebrating the .wiesbaden reopening on July 14th with the milestone exhibition and research project FLUXUS S*X TIES / Hier spielt die Musik! The project gives voice to female Fluxus artists, — from the beginnings to today — accompanied by extensive programming including talks, performances, and musical accompaniments throughout the duration of the exhibition.
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In the coming weeks, we will post more information about this spectacular exhibition with .wiesbaden, and highlight the artworks, specifically the remarkable pianos contributed by , featured in the exhibition.
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Today we feature "Pianissimo" by Sari Dienes, a white painted piano with iron fence spikes painted in black, fixed on the top board and 25 vinyl records (13 white, 12 black) on the keyboard, with the title made of black adhesive foil, glued on the front upper panel.
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Sari Dienes was a genre-defying artist whose oeuvre followed her position that nothing is as permanent as change. Working across disciplines, she experimented with various media producing paintings, drawings, prints, sculptures, sets and costumes, sound-art installations, mixed-media environments, music, and performance art. Francesco Conz discovered a series of Dienes' early drawings while visiting her with Ben Patterson. Her free spirit and unconventional approach compelled Francesco Conz to see her history as a material unto itself, with research that embodied a slow and constant evolution. Highly regarded, albeit under-acknowledged, Dienes was a strong advocate for female artists co-founding the first women’s cooperative in New York, A.I.R. Gallery.
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Pianissimo, 1988
Piano, fence spikes, metal, plastic, vinyl records, adhesive foil, paint on wood
130 × 133 × 60 cm
📸 .of.thewolf

Words of inspiration for your weekend from John Giorno! 🌫✨⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀When the Going Gets Rough the Tough Gets Gor...
17/06/2022

Words of inspiration for your weekend from John Giorno! 🌫✨
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When the Going Gets Rough the Tough Gets Gorgeous, 1989
Silkscreen on vinyl
120 × 120 cm (47 ¼ × 47 ¼ inches)
Edition of 8
Edizioni Francesco Conz
Photo: Giorgia Palmisano
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Dorothy Iannone’s illustrious career is highlighted by her focus on female sexuality and 'ecstatic unity,’ with  raucous...
23/05/2022

Dorothy Iannone’s illustrious career is highlighted by her focus on female sexuality and 'ecstatic unity,’ with raucous, magnetic erotic imagery primarily concerned with the subject of love. Individual stories and legends, as well as personal experiences and feelings, are woven throughout her work while her paintings are reminiscent of frescoes from the Byzantine and medieval periods. Today, Iannone is still regarded as a symbol of female sexual liberation. Following her education in English and American literature, the artist used texts and words in her paintings as a means of communication between herself and the viewer, as well as to create a micro-universe for her figures in the works of paper: love and eros define her work, albeit frequently accompanied by censorship.
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Iannone said in 'Fluxus essay and Bold Announcement', "I am the one who is not Fluxus, I am the one who is cared for by many Fluxus men. I am she who cares for these men." Iannone's 'Fluxus men' included the likes of George Brecht, Daniel Spoerri, Emmett Williams, and Robert Filliou, but it was Dieter Roth with whom she formed a lifelong friendship and partnership.
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This Wednesday the in Denmark opens a retrospective celebrating the achievements of Dorothy Iannone, thus celebrating free love, ecstasy and the both pleasurable and spiritual encounter between lovers.
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Scroll through for images from *A Souvenir for Ajaxander,* to see the unique illustrations of Iannone on a piano, part of .
A Souvenir for Ajaxander, 1989, 1990
Wooden piano, acrylic paint, white lacquer
146 × 160 × 100 cm

Today we celebrate yet another epic birthday of an artist part of Archivio Conz.⠀⠀⠀⠀⠀⠀⠀⠀⠀Happy 91st birthday to AY-O 🌈💫⠀...
19/05/2022

Today we celebrate yet another epic birthday of an artist part of Archivio Conz.
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Happy 91st birthday to AY-O 🌈💫
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Ay-O is perhaps most known for his “Finger Box” and “Rainbow” series, gaining recognition for his brightly coloured oil paintings of urban building sites populated by vast faceless robotic figures. Emphasising touch, the “Finger Box” series are palm sized cubes with a hole to insert a finger and touch materials set inside. Whether physically or evocatively tactile – Rainbow for Wind Orchestra performed at the Fluxus Fest Carnegie Recital Hall, New York (1964) – Ay-O understood that sense and perception are subjective and subsequently often overlooked.
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His “Rainbow Manifesto” (1966), published by Something Else Press, playfully highlights colour through a conceptual approach: “Ultimately, colours are endless,” which, “literally,” results in “translating” the entire colour spectrum in or as gradation.

18/05/2022
In a 1999 interview with Umbrella Journal, Francesco Conz maintained that artists are the true saints, and that art is m...
17/05/2022

In a 1999 interview with Umbrella Journal, Francesco Conz maintained that artists are the true saints, and that art is more pure than the church. He boldly stated that "the official saints of the church are first of all chauvinists in the service of the political goals of the church" and that "real saints don't have to perform miracles to prove their sanctity." Conz believed that artists were miracles themselves, and that encounters with them, such as his own, could be truly life changing.
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In these times of war, a recurring pandemic, battles over authorship and freedom of speech, what is the role of the artist? What are the societal values that artists should be subverting today?

Happy Birthday to Richard Kostelanetz!⠀⠀⠀⠀⠀⠀⠀⠀⠀Self-coined as a 🖤polyartist🖤 (to describe non-adjacent art practices) Br...
14/05/2022

Happy Birthday to Richard Kostelanetz!
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Self-coined as a 🖤polyartist🖤 (to describe non-adjacent art practices) Brooklyn-based Konstelanetz has worked across literary forms, holography, prints, book art, computer-based installations, and audio-visual artwork, beginning his career with essays published in the "Partisan Review" and "Hudson Review," before moving onto "The New York Times Magazine," where he wrote profiles of musicians and writers. During the 1970s, he published and co-founded "Assembling Press," "Future Press," and "Archae Editions," all of which were instrumental in spreading new ideas and styles in the world of literature.

Konstelanetz published "Dictionary of the Avant-Garde" in 1993, in which he summarized the meaning of the epoche; in the foreword, he cautioned the reader that this book would be highly subjective, as the Avant-Garde is by its very nature.

It was in 1987 that Kostelanetz was selected as one of 56 artists to participate in Francesco Conz's life project, "La Livre". The overall concept of "La Livre" was for artists to engage with Ezra Pound in workshops and produce works that would then be exhibited in original books throughout the world. "Piano for Francesco Conz (who speaks all languages)" was handwritten with ink on paper, repeating the word 'Piano' with anagrams.
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Image 1: Richard Konstelanetz and Francesco Conz in Verona, 1991
Image 2: Richard Konstelanetz, 1991
Image 3: Piano for Francesco Conz (who speaks all languages)
Ink on paper, wooden painted frame, glass

36.5 x 30.5 x 1.5 cm
Ph: Giorgia Palmisano

In loving memory of Hermann Nitsch ❤️⠀⠀⠀⠀⠀⠀⠀⠀⠀"The drama that becomes a feast by no means abstains from the originary dr...
08/05/2022

In loving memory of Hermann Nitsch ❤️
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"The drama that becomes a feast by no means abstains from the originary dramatic of the ancient tragedy, on the contrary, the drama is led to its very essence. the feast fosters a consciousness that leads to the depths, to embracing our tragic reality. the world as a whole is to be accepted with all its extremes, its possibilities of happiness, of atrocities and the cruelty of death. failing, suffering, the tragic, the sacrifice, sado-masochistic cruelty can be viewed as a suddenly irruptive absurd hindering of the creative, in its essence the creative is bound to overcoming, repelling and removing hurdles. vivacious unfolding, ever-expanding effort in life, encounters natural hurdles and brings suffering and pain, spurs on to the pain-intermingled happiness of overcoming. the myth of death and resurrection presents itself as an allegory of the creative, the analytical technique of the play helps us to understand ourselves more totally, more uncompromisingly and more extensively, plumbing to the depths of the reality of our drives, usually remaining uncharted territory. repressed areas are unearthed and lived out. consciousness creeps and pushes to the grounds of energetics, the most sensitive moments of registering joyful lust are opened to consciousness."
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- Hermann Nitsch, on his Or**es Mysteries Theatre
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On the evening of April 18, 2022, Hermann Nitsch passed away immediately following a dinner for him in Giudecca, Venice, during the opening of his exhibition 20th Painting Action. We deeply mourn the death of the the great artist, founder of Viennese Actionism, and dear friend of Conz's, who credited Nitsch with his 'conversion to the Or**es Mysteries Theater, to Viennese Actionism, and to Fluxus.'
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Images: from the Edition, Das Orgien Mysterien Theater, 1977
Embossed clothbound box, photographs, blood on canvas on paper
70x57x20 cm
📷 Giorgia Palmisano

Our new website features photos and press releases of Archivio Conz’s past programming and events. Today we highlight 'B...
04/05/2022

Our new website features photos and press releases of Archivio Conz’s past programming and events. Today we highlight 'Between Points', an exhibition from 2018 in collaboration with Supportico Lopez and , which featured live performances by Ed Atkins, Juliette Blightman, Stephanie Comilang, Petrit Halilaj & Alvaro Urbano, Jessie Holmes, Tarren Johnson, Sebastian Lütgert a.k.a Robert Luxemburg, Xavier Mazzarol, Reto Pulfer and Günter Schickert.
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'Between Points' was an exhibition of Fluxus artist Geoffrey Hendricks at the Archivio located directly on the water, taking the audience into the city of Berlin by boat. The narrated ride wove a story of its surroundings, passing fleeting performance pieces along the river bed; the stages of the city.
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'Between Points' is an ascent to the fleeting, to looking up, to the overlooked.
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In Hendricks’ work, dream and reality are always of equal appraisal. His gentle, acute observations found a way into his intuitive performance works and texts, his dream boxes, and the many forms in which he painted the sky. His sky paintings represent the beginning of many pursuits in pulling heaven and earth together, connecting dualities, as the sky in its incomprehensible vastness forms the umbrella for our social relations and political realities.
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For more images from the history of Archivio Conz's programming, please visit our website at www.archivioconz.com ✨🌫✨

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