| NO!art + About + Front + Manipulation + Navigation + Mail + ►Reload | EN | DE |  |
<<< >>> |
 |
 |
About
Activities
Animations
Assemblages
Biography
Collections
Concepts
Exhibitions
Film/Video
Filmography
Graphics
Interviews
Objects
Paintings
Photographs
Publications
Reviews
Sound
Writings
NO!art
occupies
the strategic
juncture where
artistic production
and socio-cultural
action meet.
DIETMAR KIRVES born 1941 in Fürstenwalde/Spree, Germany. Since 1964 mixed media works with film, photos, music, sculptures and environments. Founded 1970 ►mediacontact agency in Düsseldorf in collaboration with Jochen Gerz and Terry Fox. Worked with Joseph Beuys, Kraftwerk and Creamcheese events in Duesseldorf. Quitted 1975 the traditional art scene and moved to Wall City Berlin. First meeting with ►Boris Lurie in 1978 for pushing NO!art movement to stronger development. Works since 1999 at the world wide web for continuation the NO!art. Leads the NO!art headquarters east in Berlin since 1980 together with ►Boris Lurie. — Dietmar Kirves lives and works in Berlin-Kreuzberg.
►wikipedia + wikiwand + facebook + instagram + kirves.info
►milieu + mindleaks + mindshots + faceshots + brainshots
►frontshots + illegalnett
THE PRICE FOR COLLABORATION IN ART is — as in the concentration camps — excremental suffocation. It is not by submission, coolness, apathy, boredom that great art is created — no matter what the cynics tell us. The secret ingredient is what is most difficult to learn — courage. —Boris Lurie
2022 COVID #31 — RESPECT | Frontshots, Berlin
2021 COVID #20 — REBEL | Frontshots, Berlin
COVID #15 — REDISTRIBUTION | Frontshots, Berlin
COVID #12 — WISDOM | Frontshots, Berlin
2020 COVID #01 — UGH | Frontshots, Berlin
2017 NO!art MANIPULATION | Investigation for an Impeachment Process
2016 THE STREET GANGS OF THE LES | book design, New York
BORIS LURIE: NO COMPROMISES | Jewish Museum Berlin [undercover]
2015 NO SHOW | tête gallery, Berlin
FACESHOT | anonymizations by mainstream media
2014 CULTURE AFTER FALLING WALL | Kreuzberg Museum Berlin
NO!art-REPORT | one month visiting Clayton Patterson at LES
CONVERSATION WITH CHARLES REHWINKEL | Friend of Boris Lurie
2013 ARTE POSTALE | Akademie der Künste [groupshow], Berlin
2012 ILLEGALNET | Graffiti shots and such like for people's brainstorming
2011 NO!art INFRINGEMENT | Ultimatum by Boris Lurie Art Foundation, NYC
2010 MEDIACONTACT | Weserburg, Museum of Modern Art, Bremen
WITH ALDO TAMBELLINI | on NO and LES, Cambridge/MA
2009 ZEIGEN / POINTING | Groupshow, Temporaere Kunsthalle Berlin
NEIGHBORHOODS | Haus am Luetzowplatz, Berlin
MINDSHOTS | word manipulations at the NO!art front, Berlin
2007 PLAKART | NO!art on Outside Videoboard, Brunswick/Germany
2004 HEAVY WEIHGTS | Clayton Gallery & Outlaw Art Museum, New York
2003 NO!-ON SHOW | Gallery Berliner Kunstprojekt, Berlin
2002 NO!art in BUCHENWALD | catalog, Stuttgart
2001 NO!art AND THE AESTHETICS OF DOOM | Block Museum, Evanston/IL
RECREATION | Frontshots, New York
1999 NO!art | NO!art movement in the world wide web, Berlin
NO!art involved Artists: ARMENTO + ARONOVICI + BAJ + BARATELLA + BECHER + BROWN + BRUNET + BRUS + CHORBADZHIEV + D'ARCANGELO + DAYEN + DE RUVO + EHM-MARKS + ERRO + FABRICIUS + FISHER + GATEWOOD + GEORGES + GERZ + GILLESPIE + GILMAN + GOLDMAN + GOLUB + GOODMAN + HALLMANN + HASS + HJULER + KAPROW + KIRVES + KUSAMA + KUZMINSKY + LEBEL + LEVITT + LONG + LST + LURIE + MASTRANGELO + MEAD + MESECK + PATTERSON + PICARD + PINCHEVSKY + RAMSAUER + RANCILLAC + ROUSSEL + SALLES + SALMON + SCHEIBNER + SCHLEINSTEIN + STAHLBERG + STUART + TAMBELLINI + TOBOCMAN + TOCHE + TSUCHIYA + VOSTELL + WALL + WOLF + WOYTASIK + ZOWNIR
NO!art has continued way beyond 1964 and also prior to 1958. The "cutting-off" date 1964, as espoused by the art historian is entirely artificial. Such cutting-off dates are common to art historians, done for cataloguing purposes, and what is more, for accreditation of monetary value in the art market. The cutting-off dates also have a devastating effect on the production of artists, who are, by those means, being convinced that what they produce after a cutting-off date is secondary in importance, and do not belong any longer to the "new times". Yet the art market hated it, for practical reasons of creating confusion about monetary value. That is the main and real reason for art historians and critics insisting on this untrue measure. - Boris Lurie, 2003.
