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Boris Lurie: COLLAGES & PRINTS 1950 - 1999

Curator: Klaus Fabricius

BOOK PRESENTATION GEDICHTIGTES/GESCHRIEBIGTES [in German]

Gallery Dorn | Planckstrasse 123 | Stuttgart | August 14 to 22, 1999

TAGGED Invitation +++ Poster +++ Book presentation +++ Works in the exhibition +++ Review

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INVITATION FLYER:

Invitationcard

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POSTER:

lurie show poster, Stuttgart 1999

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WORKS IN THE SHOW

Boris Lurie, Painting
Boris Lurie, Painting
Boris Lurie, Painting
Boris Lurie, Painting
Boris Lurie, Painting
Boris Lurie, Painting
Boris Lurie, Collage
Boris Lurie, Collage
All works are from the Schwarz Gallery store in Milano

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BOOK PRESENTATION:

NO!art in BUCHENWALD
BORIS LURIE: GESCHRIEBIGTES / GEDICHTIGTES 1947 - 2001 [in German]

470 p. | 135 b/w pictures | 21,5 x 26,5 cm | Eckhart Holzboog Verlag | Stuttgart 2003 | ISBN 3-9807794-0-8

read Boris Lurie's text in German

cover frontCatalog Book with poems, images, and commentaries
in German. Compiled by Boris Lurie and Dietmar Kirves
on the occasion of the show Boris Lurie: Werke 1946-1998 at Memorial Weimar-Buchenwald 1998/99.
With contributions by his friends Enrico Baj, Paolo Baratella, Herb Brown, Ronaldo Brunet, Günter Brus, Erro, Klaus Fabricius, Charles Gatewood, Paul Georges, Jochen Gerz, Esther Morgenstern Gilman, Amikam Goldman, Leon Golub, Sam Goodman, Blalla W. Hallmann, Allan Kaprow, Dietmar Krves, Yayoi Kusama, Konstantin K. Kuzminsky, Jean-Jacques Lebel, Martin Levitt, Suzanne Long, Clayton Patterson, Bernard Rancillac, Francis Salles, Naomi T. Salmon, Michelle Stuart, Aldo Tambellini, Klaus Theuerkauf, Seth Tobocman, Jean Toche, Toyo Tsuchiya, Wolf Vostell, Mathilda Wolf.
 click on artist name to see published work
 
 
 

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REVIEW by Klaus Fabricius on August 15, 1999: It was a beautiful evening last night. Yes, it was. I drove back with the certain feeling that I had seen something whose visual language found my frequency, and whose story is far from over.

Of course, such a lumbering, half-blind lump like me once again saw nothing at all at first, let alone understood it. ... The monstrosity of the violation of Lurie's generation, of perpetrators and victims, cannot be comprehended. Neither the monstrous, to me downright uncanny will to survive the apocalypse, nor the ability to want to continue to communicate with the species (I assume that every kind of utterance and if only unconsciously seeks a target point), whose abysmal malice has just been put back on the brittle leash. That the language used for it, with all kinship to our own idiom, is and must be by its nature a foreign one, became really conscious to me only yesterday. My claim that it (the language) comes to me and decodes itself, since it wants something from me, and my child mentality of not being able to solve the world to the I, did not stand in my way for moments last night.

I also think that the choice of text for the short reading by Dietmar Kirves from Berlin was a fortunate one for me, because it described the Anus Mundi without pathos and thus freed the often described from that scenery-like quality that the didactic processing of pain and guilt usually has. But the unaffectedness of the description also had something numb, anesthetized, which brought back to me the memory of the blurred in-between world of an ether anesthesia of my childhood. (Wonderful. Awakening an anesthesia. Hello coma, the coffee is ready!).

Life force was driven by Lurie and all others who survived, forced, into the red reserve area. Into the area ATTENTION: religious or animal.

That there was not so much left for our generation, well, that is another story. The here and today is in any case still direct consequence of a catastrophe which still nobody understands and from which nobody knows whether it was not final! In any case, this is my opinion. ...

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