APRIL 2023 - JANUARY 2024
HOMO LUDENS
ABOUT THE GAME OF ART
„Man is only fully human where he plays.”
Friedrich Schiller, 1795
Works by the following artists were exhibited:
Carl Andre, Hermine Anthoine, Miroslav Balka, John Baldessari, Lothar Baumgarten, Rolf Bergmeier, Joseph Beuys, Guillaume Bijl, John Bock, Baldur Burwitz, Michael Buthe, Chapman Brothers, Maurizio Cattelan, Martin Creed, Max Cole, Hanne Darboven, Samy Deluxe, Madeleine Dietz, Henrik Eiben, Johannes Esper, Brendan Fowler, Tom Früchtl, Hamish Fulton, Os Gemeos, Markus Genesius | WOW 123, Liam Gillick, Gregory Green, Katharina Grosse, Hans Haacke, Georg Herold, Horst Hellinger, Edgar Hofschen, General Idea, Christian Jankowski, Folkert DeJong, Seljia Kameric, Jon Kessler, Mike Kelley, Suchan Kinoshita, Edward und Nancy Reddin Kienholz, Franticek Klossner, Terence Koh, Magda Krawcewicz, Alicia Kwade, Peter Land, Rachel Lachowicz, Wolfgang Laib, Sherrie Levine, Maria Marshall,Thom Merrick, Jonathan Meese, Olaf Metzel, Jill Miller, Piotr Nathan, Bruce Nauman, Ernesto Neto, Tim Noble & Sue Webster, Damian Ortega, C.O.Paeffgen, Markus Paetz, Guiseppe Penone, Dan Peterman, Wolfgang Petrick, Merlin Reichart, Klaus Rinke, Ugo Rondinone, Reiner Ruthenbeck, Ursula von Rydingsvard, Sam Samore, Roman Signer, Michael Schmeichel, Werner Schreib, Patrick Sellmann, Santiago Sierra, Andreas Slominski, Haim Steinbach, Toshiya Kobayashi, Dimitris Tzamouranis, Rikuo Ueda, Vitché, Nicole Wermers, Erwin Wurm, Iskender Yediler.
From April 23, 2023 - With Schiller's thesis on the element of play in culture in mind, we were once again providing insights into the "Reinking Collection".
In all cultures, the constraints of nature and the violence of instincts are civilized through devotion to the selfless and a sense of the superfluous in play. Culture is above all the embodiment of freedom.
A story of postmodern and contemporary art was told from the spirit of the game. "Themed rooms" dealt with social and cosmic conditions and connections like a laboratory: the search for identity and gender, playing with time and space, body and nature.
The exhibition showed the "homo ludens", the playing people, in a double interpretation: In the definition of a researching artistry, which deals with its own reality in experimental arrangements and considerations, defines its visual language and thus finds a personal artistic vocabulary. As well as in the collector's creative play with the selected objects. The collector "paints" himself, as Duchamp so aptly put it, "his own collection". By selecting, combining and arranging, he becomes the “artist squared”. (Marcel Duchamp)
The Dutch cultural historian Johan Huizinga underscores Schiller's reflections on aesthetics in his major work Homo Ludens: On the Origin of Culture in Play, 1938.
The play of art encourages man to play with all his powers through reason, feeling, imagination, memory and expectation. By saying “The modern apparatus of publicity, with literary exaggerated art criticism, with exhibitions and lectures, Huizinga is suitable for increasing the playful character of art expressions”, Huizinga also anticipates what is happening in today’s art world with all its degeneration.
Away from the effective world of the "modern art apparatus", the Reinking Collection primarily aims at a very human self-disclosure of the world.
Sometimes with a wink, sometimes with deep seriousness, we show more than 80 international artist positions in a dialogue that spans cultures and generations. Visitors are invited to explore the facets of the world by looking at the works and their mutual relationships, and to learn more about themselves in the process.
APRIL 2023 - JANUARY 2024
TIMES
For the first time we were showing a second exhibition simultaneously in the exhibition hall.
TIMES was showing works by Vanessa Beecroft, Dimitris Tzamouranis and Thomas Judisch.
At the center of this exhibition was the video work “VB48” by Vanessa Beecroft.
On July 3, 2001, shortly before the G8 conference in Genoa, the Italian-British artist Vanessa Beecroft staged African migrant women in the hall of the Palazzo Ducale in the manner of a tableau vivant. Her Caravaggio-esque work plays on the contrast of power embodied by the city‘s palaces and the vulnerability of the African migrants who stand lost outside its walls.
The video work was flanked by paintings by the Greek artist Dimitris Tzamouranis. The concept underlying the paintings is based on the use of a rhetorical figure. In these paintings, Tzamouranis works with the figure of reversal. He shows something in them that he basically doesn‘t show at all.
His seascapes denote very precise places, identified by the geographic coordinates of the titles. In the past, refugees trying to reach Europe illegally sank and died there with their ships. They wanted to reach Greece or Italy from North Africa via various routes. The artist sailed his boat from Kalamata in Greece, his native town, following these escape routes. To where the tragedies happened. Dimitris Tzamouranis has entered the scene of the accident on a nautical chart that he created, which accompanies his “Mare Nostrum” pictures. Basically, this turns his works into memorabilia. With the help of painted allegories, they keep the memory of the catastrophes alive. Absence and presence, the dead and the sea, are dialectically related to each other.
Unlike in so many seascapes of the past, the sea does not appear here as a sublime natural wonder that the viewer should celebrate and marvel at with devotion, but rather as a kind of roaring monster*.
A wall of sleeping bags was positioned next to these works in the middle of the room. A closer look reveals that the cases are filled with newspaper. Stuffed to the brim with daily reports of political events from all over the world. So no real sleeping bags after all, just the romantic image of a travel group or even the sad reality of those who are fleeing and looking for protection?
The sculpture „Tausend und eine Nacht“ by the Dresden sculptor Thomas Judisch invites you to use it. Provides support and helps to connect with the works.
Vanessa Beecroft | Courtesy Sammlung Reinking
Dimitris Tzamouranis | Courtesy Sammlung Reinking / Galerie Michael Haas
Thomas Judisch | Courtesy the Artist
*from: Journey of Life. On the "Mare Nostrum" pictures by Dimitris Tzamouranis, Michael Stoeber, 2017.
MAY 2022 - JANUARY 2023
RETROSPECTIVE WOLFGANG PETRICK
„ALL GREAT AND BEAUTIFUL WORK HAS COME OF FIRST GAZING WITHOUT SHRINKING INTO THE DARKNESS” *
The years 1958-2022
Arne Rautenberg's speech at the opening:
Heutungen und Leidbilder
– Eine Annäherung an das Werk von Wolfgang Petrick –
Download PDF 38KB (German only)
How can the pictorial world of Wolfgang Petrick, born in Berlin in 1939 and peppered with distortions, deformations and montages, be structured and classified? And how topical is it in times of pandemic, war and threatening shortage of raw materials?
The exhibition at the WAI Woods Art Institute was the first attempt at a large-scale retrospective of this German post-war artist, who is "extraordinary" in the best sense of the word and who has a pronounced penchant for the US metropolis of New York. On display were paintings, drawings, prints, objects, sculptures, and installations from all of the artist's creative phases.
Rik Reinking's collection unites more than six decades of Wolfgang Petrick's creative period and shows the artist's development from the late 1950s until today. Fascinated by the existential imagery in Petrick's work, the collector traces the artist's underlying motivation. Once again, this exhibition allowed the visitor to learn something about himself as a social being, thrown into the stream of time between unfamiliar isolating constraints and grotesquely repetitive history.
Wolfgang Petrick began his artistic path in the late 1950s in the environment of teachers who were committed to the Bauhaus, Abstract Expressionism, Surrealism, gestural painting and Art Brut.
Petrick then founded the first producer gallery Großgörschen 35 together with artists such as KH Hödicke and Markus Lüpertz as early as 1964.
In dissociation from the current trends of the time, he developed the group "Aspekt" in the context of Critical Realism with artists such as Hans-Jürgen Diehl, Joachim Schmettau and Peter Sorge, which had set itself the goal of cleaning up the narrow-mindedness and constraints of post-war German society.
In the late seventies he broke with this movement. It was not the last stylistic break in his work. "Breaks" run through his entire creative period and are the most striking consistency in Petrick's work.
He is concerned with "presenting the exhibition visitor with a state of change and deformation," Petrick says. He wants to create poetic, but also "inedible images and installations" that are not easy to consume. Even today, the artist continues to develop his visual worlds into novel concepts with undiminished curiosity and driven by a great creative urge.
His oeuvre as a whole points to the extreme dislocations to which society has been exposed even in recent times, for "the cities, buildings, everyday objects, and mythical figures in Petrick's paintings are exposed to centrifugal, all-tearing forces" (Dr. Harald Falckenberg)
* John Ruskin
SEPTEMBER - OCTOBER 2022
THE ART OF TRENDING
THE ART OF TRENDING all over Germany
From prehistoric art to Picasso's Guernica to Banksy’s Flower Thrower, art has always reflected, in its unique way, the moment in which it was conceived.
Pablo Picasso once said that “The art that is not in the present will never be”, and The Art of Trending exhibition captured this perfectly. A contemporary experiment that explored the boundaries of what is art and what is not, by the use of Dall-e 2: the AI system that generates unique images from a description in natural language to create real-time artworks.
The real-time art pieces were exhibited from 19th September 2022. They were also show in our social channels as well as on programmatic billboards around Germany. During that time, remarkable topics occurred such as the death of The Queen Elizabeth II, climate disasters, social protests, sports records, legendary retirements, political conflicts, Anonymous appearance, scientific innovations, paradigm shifts in Disney…
JANUARY 2021 - JANUARY 2022
TERENCE, TIM & TRIER
The exhibition deals in a triad with the central themes of life and death and the question of human identity. The reduction to the three big questions of "being human" has current significance for each of us.
The Canadian-Chinese artist Terence Koh transforms life entirely into art in deliberately exaggerated self-stagings. Following artists such as Beuys, Byars, and Warhol, he constantly reinvents himself and creates his very own self-portrayals within at times contradictory contexts, thus finding his own artistic language.
His ritualistic, sometimes secret performances, which can also be understood in reference to rituals of the great world cultures, oscillate between (re)birth and death and give rise to a feeling of timelessness. The works, sculptures, relics and traces from past performative exhibitions on display at WAI between the years 2003 and 2013 accompany the artist on his search for inner peace with himself and the world, and at the same time challenge the visitor through existential themes such as death, madness and self-wasting. The visitor is confronted with an intense exhibition experience.
Tim stands for life.
The tattoo created by Belgian conceptual artist Wim Delvoye on the back of its human wearer shows, among other things, the symbolism of the world religions and, as a "living art piece", is part of recent art history. Traces and messages bear witness to Tim's 6-month presence at WAI during the past winter. His temporary absence is part of the exhibition.
Lars von Trier's installation, which was also featured in his cinematic work "The House that Jack built" (2018), illuminates death from the perspective of a serial killer and draws a line to Dante's "La divina comedia." It is understood as the gateway to Hell and remains permanently installed under the exhibition house.
This work is not part of the regular guided tours and can only be seen upon separate request.
SEPTEMBER 2019 - DECEMBER 2020
SAMMLUNG REINKING 01
DIMITRIS TZAMOURANIS, GRETA RAUER, PIA STADTBÄUMER
For the first time, the WAI Galleries are opening their doors to the public with an extract from the Reinking Collection. Across 16 exhibition rooms and the large hall, works by modern, contemporary and indigenous artists are presented that take a position on questions surrounding human existence.
EXHIBITED ARTISTS
Eva Aeppli, Fernández Arman, Mary Baumeister, Banksy, Herbert Baglione, Werner Berges, Joseph Beuys, Blu, Olaf Breuning, Baldur Burwitz, Michael Buthe, James Lee Byars, César, Christo, DAIM / Mirko Reisser, Madeleine Dietz, Peter Doig, Brad Downey, Francois Dufrene, Jimmie Durham, Reinhard Drenkhahn, Henrik Eiben, Robert Filliou, Urs Frei, Gregor Gaida, Gelitin, Os Gêmeos, Ludwig Gosewitz, Damien Hirst, General Idea, Mark Jenkins, Allen Jones, Joe Jones, Horst Egon Kalinowski, Izumi Kato, Kaws, Edward & Nancy Reddin Kienholz, Imi Knoebel, Wulf Kirschner, Terence Koh, Magda Krawcewicz, Barbara Kruger, Abigail Lane, Seok Lee, Mader, Daniel Man, Mathieu Mercier, Mariko Mori, Nunca, Hermann Nitsch, Cady Noland, OBEY / Shepard Fairey, Manuel Ocampo, C.O. Paeffgen, Wolfgang Petrick, Heinz-Günter Prager, Richard Prince, Jon Pylypchuk, Arne Rautenberg, Rolf Rose, Dieter Roth, Takako Saito, Michael Schmeichel, Werner Schreib, Patrick Sellmann, Roman Signer, Dirk Skreber, Daniel Spoerri, Pia Stadtbäumer, Swoon, Jean Tinguely, Dimitris Tzamouranis, Wolf Vostell, Ben Vautier, Johannes Wohnseifer, Hedi Xandt, Herbert Zangs
APRIL 2023 - JANUARY 2024
HOMO LUDENS
ABOUT THE GAME OF ART
„Man is only fully human where he plays.”
Friedrich Schiller, 1795
From April 23, 2023 - With Schiller's thesis on the element of play in culture in mind, we were once again providing insights into the "Reinking Collection".
In all cultures, the constraints of nature and the violence of instincts are civilized through devotion to the selfless and a sense of the superfluous in play. Culture is above all the embodiment of freedom.
A story of postmodern and contemporary art was told from the spirit of the game. "Themed rooms" dealt with social and cosmic conditions and connections like a laboratory: the search for identity and gender, playing with time and space, body and nature.
The exhibition showed the "homo ludens", the playing people, in a double interpretation: In the definition of a researching artistry, which deals with its own reality in experimental arrangements and considerations, defines its visual language and thus finds a personal artistic vocabulary. As well as in the collector's creative play with the selected objects. The collector "paints" himself, as Duchamp so aptly put it, "his own collection". By selecting, combining and arranging, he becomes the “artist squared”. (Marcel Duchamp)
The Dutch cultural historian Johan Huizinga underscores Schiller's reflections on aesthetics in his major work Homo Ludens: On the Origin of Culture in Play, 1938.
The play of art encourages man to play with all his powers through reason, feeling, imagination, memory and expectation. By saying “The modern apparatus of publicity, with literary exaggerated art criticism, with exhibitions and lectures, Huizinga is suitable for increasing the playful character of art expressions”, Huizinga also anticipates what is happening in today’s art world with all its degeneration.
Away from the effective world of the "modern art apparatus", the Reinking Collection primarily aims at a very human self-disclosure of the world.
Sometimes with a wink, sometimes with deep seriousness, we show more than 80 international artist positions in a dialogue that spans cultures and generations. Visitors are invited to explore the facets of the world by looking at the works and their mutual relationships, and to learn more about themselves in the process.
Works by the following artists were exhibited:
Carl Andre, Hermine Anthoine, Miroslav Balka, John Baldessari, Lothar Baumgarten, Rolf Bergmeier, Joseph Beuys, Guillaume Bijl, John Bock, Baldur Burwitz, Michael Buthe, Chapman Brothers, Maurizio Cattelan, Martin Creed, Max Cole, Hanne Darboven, Samy Deluxe, Madeleine Dietz, Henrik Eiben, Johannes Esper, Brendan Fowler, Tom Früchtl, Hamish Fulton, Os Gemeos, Markus Genesius | WOW 123, Liam Gillick, Gregory Green, Katharina Grosse, Hans Haacke, Georg Herold, Horst Hellinger, Edgar Hofschen, General Idea, Christian Jankowski, Folkert DeJong, Seljia Kameric, Jon Kessler, Mike Kelley, Suchan Kinoshita, Edward und Nancy Reddin Kienholz, Franticek Klossner, Terence Koh, Magda Krawcewicz, Alicia Kwade, Peter Land, Rachel Lachowicz, Wolfgang Laib, Sherrie Levine, Maria Marshall,Thom Merrick, Jonathan Meese, Olaf Metzel, Jill Miller, Piotr Nathan, Bruce Nauman, Ernesto Neto, Tim Noble & Sue Webster, Damian Ortega, C.O.Paeffgen, Markus Paetz, Guiseppe Penone, Dan Peterman, Wolfgang Petrick, Merlin Reichart, Klaus Rinke, Ugo Rondinone, Reiner Ruthenbeck, Ursula von Rydingsvard, Sam Samore, Roman Signer, Michael Schmeichel, Werner Schreib, Patrick Sellmann, Santiago Sierra, Andreas Slominski, Haim Steinbach, Toshiya Kobayashi, Dimitris Tzamouranis, Rikuo Ueda, Vitché, Nicole Wermers, Erwin Wurm, Iskender Yediler.
APRIL 2023 - JANUARY 2024
TIMES
For the first time we were showing a second exhibition simultaneously in the exhibition hall.
TIMES was showing works by Vanessa Beecroft, Dimitris Tzamouranis and Thomas Judisch.
At the center of this exhibition was the video work “VB48” by Vanessa Beecroft.
On July 3, 2001, shortly before the G8 conference in Genoa, the Italian-British artist Vanessa Beecroft staged African migrant women in the hall of the Palazzo Ducale in the manner of a tableau vivant. Her Caravaggio-esque work plays on the contrast of power embodied by the city‘s palaces and the vulnerability of the African migrants who stand lost outside its walls.
The video work was flanked by paintings by the Greek artist Dimitris Tzamouranis. The concept underlying the paintings is based on the use of a rhetorical figure. In these paintings, Tzamouranis works with the figure of reversal. He shows something in them that he basically doesn‘t show at all.
His seascapes denote very precise places, identified by the geographic coordinates of the titles. In the past, refugees trying to reach Europe illegally sank and died there with their ships. They wanted to reach Greece or Italy from North Africa via various routes. The artist sailed his boat from Kalamata in Greece, his native town, following these escape routes. To where the tragedies happened. Dimitris Tzamouranis has entered the scene of the accident on a nautical chart that he created, which accompanies his “Mare Nostrum” pictures. Basically, this turns his works into memorabilia. With the help of painted allegories, they keep the memory of the catastrophes alive. Absence and presence, the dead and the sea, are dialectically related to each other.
Unlike in so many seascapes of the past, the sea does not appear here as a sublime natural wonder that the viewer should celebrate and marvel at with devotion, but rather as a kind of roaring monster*.
A wall of sleeping bags was positioned next to these works in the middle of the room. A closer look reveals that the cases are filled with newspaper. Stuffed to the brim with daily reports of political events from all over the world. So no real sleeping bags after all, just the romantic image of a travel group or even the sad reality of those who are fleeing and looking for protection?
The sculpture „Tausend und eine Nacht“ by the Dresden sculptor Thomas Judisch invites you to use it. Provides support and helps to connect with the works.
Vanessa Beecroft | Courtesy Sammlung Reinking
Dimitris Tzamouranis | Courtesy Sammlung Reinking / Galerie Michael Haas
Thomas Judisch | Courtesy the Artist
*from: Journey of Life. On the "Mare Nostrum" pictures by Dimitris Tzamouranis, Michael Stoeber, 2017.
MAY 2022 - JANUARY 2023
RETROSPECTIVE WOLFGANG PETRICK
„ALL GREAT AND BEAUTIFUL WORK HAS COME OF FIRST GAZING WITHOUT SHRINKING INTO THE DARKNESS” *
The years 1958-2022
How can the pictorial world of Wolfgang Petrick, born in Berlin in 1939 and peppered with distortions, deformations and montages, be structured and classified? And how topical is it in times of pandemic, war and threatening shortage of raw materials?
The exhibition at the WAI Woods Art Institute was the first attempt at a large-scale retrospective of this German post-war artist, who is "extraordinary" in the best sense of the word and who has a pronounced penchant for the US metropolis of New York. On display were paintings, drawings, prints, objects, sculptures, and installations from all of the artist's creative phases.
Rik Reinking's collection unites more than six decades of Wolfgang Petrick's creative period and shows the artist's development from the late 1950s until today. Fascinated by the existential imagery in Petrick's work, the collector traces the artist's underlying motivation. Once again, this exhibition allowed the visitor to learn something about himself as a social being, thrown into the stream of time between unfamiliar isolating constraints and grotesquely repetitive history.
Wolfgang Petrick began his artistic path in the late 1950s in the environment of teachers who were committed to the Bauhaus, Abstract Expressionism, Surrealism, gestural painting and Art Brut.
Petrick then founded the first producer gallery Großgörschen 35 together with artists such as KH Hödicke and Markus Lüpertz as early as 1964.
In dissociation from the current trends of the time, he developed the group "Aspekt" in the context of Critical Realism with artists such as Hans-Jürgen Diehl, Joachim Schmettau and Peter Sorge, which had set itself the goal of cleaning up the narrow-mindedness and constraints of post-war German society.
In the late seventies he broke with this movement. It was not the last stylistic break in his work. "Breaks" run through his entire creative period and are the most striking consistency in Petrick's work.
He is concerned with "presenting the exhibition visitor with a state of change and deformation," Petrick says. He wants to create poetic, but also "inedible images and installations" that are not easy to consume. Even today, the artist continues to develop his visual worlds into novel concepts with undiminished curiosity and driven by a great creative urge.
His oeuvre as a whole points to the extreme dislocations to which society has been exposed even in recent times, for "the cities, buildings, everyday objects, and mythical figures in Petrick's paintings are exposed to centrifugal, all-tearing forces" (Dr. Harald Falckenberg)
* John Ruskin
Arne Rautenberg's speech at the opening:
Heutungen und Leidbilder
– Eine Annäherung an das Werk von Wolfgang Petrick –
Download PDF 38KB (German only)
SEPTEMBER - OCTOBER 2022
THE ART OF TRENDING
From prehistoric art to Picasso's Guernica to Banksy’s Flower Thrower, art has always reflected, in its unique way, the moment in which it was conceived.
Pablo Picasso once said that “The art that is not in the present will never be”, and The Art of Trending exhibition captured this perfectly. A contemporary experiment that explored the boundaries of what is art and what is not, by the use of Dall-e 2: the AI system that generates unique images from a description in natural language to create real-time artworks.
The real-time art pieces were exhibited from 19th September 2022. They were also show in our social channels as well as on programmatic billboards around Germany. During that time, remarkable topics occurred such as the death of The Queen Elizabeth II, climate disasters, social protests, sports records, legendary retirements, political conflicts, Anonymous appearance, scientific innovations, paradigm shifts in Disney…
THE ART OF TRENDING all over Germany
JANUARY 2021 - JANUARY 2022
TERENCE, TIM & TRIER
The exhibition deals in a triad with the central themes of life and death and the question of human identity. The reduction to the three big questions of "being human" has current significance for each of us.
The Canadian-Chinese artist Terence Koh transforms life entirely into art in deliberately exaggerated self-stagings. Following artists such as Beuys, Byars, and Warhol, he constantly reinvents himself and creates his very own self-portrayals within at times contradictory contexts, thus finding his own artistic language.
His ritualistic, sometimes secret performances, which can also be understood in reference to rituals of the great world cultures, oscillate between (re)birth and death and give rise to a feeling of timelessness. The works, sculptures, relics and traces from past performative exhibitions on display at WAI between the years 2003 and 2013 accompany the artist on his search for inner peace with himself and the world, and at the same time challenge the visitor through existential themes such as death, madness and self-wasting. The visitor is confronted with an intense exhibition experience.
Tim stands for life.
The tattoo created by Belgian conceptual artist Wim Delvoye on the back of its human wearer shows, among other things, the symbolism of the world religions and, as a "living art piece", is part of recent art history. Traces and messages bear witness to Tim's 6-month presence at WAI during the past winter. His temporary absence is part of the exhibition.
Lars von Trier's installation, which was also featured in his cinematic work "The House that Jack built" (2018), illuminates death from the perspective of a serial killer and draws a line to Dante's "La divina comedia." It is understood as the gateway to Hell and remains permanently installed under the exhibition house.
This work is not part of the regular guided tours and can only be seen upon separate request.
SEPTEMBER 2019 - DECEMBER 2020
SAMMLUNG REINKING 01
DIMITRIS TZAMOURANIS, GRETA RAUER, PIA STADTBÄUMER
For the first time, the WAI Galleries are opening their doors to the public with an extract from the Reinking Collection. Across 16 exhibition rooms and the large hall, works by modern, contemporary and indigenous artists are presented that take a position on questions surrounding human existence.
EXHIBITED ARTISTS
Eva Aeppli, Fernández Arman, Mary Baumeister, Banksy, Herbert Baglione, Werner Berges, Joseph Beuys, Blu, Olaf Breuning, Baldur Burwitz, Michael Buthe, James Lee Byars, César, Christo, DAIM / Mirko Reisser, Madeleine Dietz, Peter Doig, Brad Downey, Francois Dufrene, Jimmie Durham, Reinhard Drenkhahn, Henrik Eiben, Robert Filliou, Urs Frei, Gregor Gaida, Gelitin, Os Gêmeos, Ludwig Gosewitz, Damien Hirst, General Idea, Mark Jenkins, Allen Jones, Joe Jones, Horst Egon Kalinowski, Izumi Kato, Kaws, Edward & Nancy Reddin Kienholz, Imi Knoebel, Wulf Kirschner, Terence Koh, Magda Krawcewicz, Barbara Kruger, Abigail Lane, Seok Lee, Mader, Daniel Man, Mathieu Mercier, Mariko Mori, Nunca, Hermann Nitsch, Cady Noland, OBEY / Shepard Fairey, Manuel Ocampo, C.O. Paeffgen, Wolfgang Petrick, Heinz-Günter Prager, Richard Prince, Jon Pylypchuk, Arne Rautenberg, Rolf Rose, Dieter Roth, Takako Saito, Michael Schmeichel, Werner Schreib, Patrick Sellmann, Roman Signer, Dirk Skreber, Daniel Spoerri, Pia Stadtbäumer, Swoon, Jean Tinguely, Dimitris Tzamouranis, Wolf Vostell, Ben Vautier, Johannes Wohnseifer, Hedi Xandt, Herbert Zangs
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