Romanian, 20th century, male.
Active in France from 1934.
Born 9 November 1915, in Timisoara; died 11 April 2005, in Grisy-lès-Plâtres (Val-d'Oise), France.
Painter, sculptor of assemblages, draughtsman, illustrator, poster artist. Landscapes, figures. Comic cartoons, stage costumes and sets.
André Farkas studied at the school of art in Budapest. He arrived in France in ...
(b Buenos Aires, Jan 14, 1915; d Barcelona, Oct 14, 1965).
Argentine painter, sculptor, performance artist, conceptual artist, poet, and illustrator. After studying in Buenos Aires at the Escuela Nacional de Bellas Artes and with Cecilia Marcovich and Tomás Maldonado, he quickly established a reputation for his scandalous views, attracting extreme disapproval and equally strong support. After delivering a lecture at the Juan Cristóbal bookshop, Buenos Aires, entitled “Alberto Greco y los pájaros” he was briefly imprisoned for his “Communism and subversive acts.” On his release in the same year he travelled to Paris on a French government grant, selling drawings and watercolors in the cafés and studying painting with Fernand Léger and printmaking with Johnny Friedlaender. Between 1956 and 1958 he lived in São Paulo, where he became aware of Art informel; he painted in this style in the late 1950s and early 1960s (Glusberg 1985, 284–285).
As early as 1959, when he had returned from São Paulo to Buenos Aires, Greco had expressed his corrosive vision of society through the form of his work. In his shows he exhibited tree trunks and rags for cleaning window gratings or floors. He moved again to Paris in ...
(b Leverkusen, nr Cologne, Oct 14, 1932; d Berlin, April 3, 1998).
German painter, sculptor, décollagist, composer, video artist, and performance artist. He was one of the fathers of the European Happening movement. Vostell studied typography, lithography, and painting in Cologne, Wuppertal, Paris, and Düsseldorf (1950–58). In 1959 he married Mercedes Guardado Olivenza in Cáceres, Spain. Early in his career he discovered Décollage , a technique of cutting, tearing away or otherwise removing pieces of an image. His spelling of the term, dé-coll/age, underlined the term’s dialectical implications of destruction and creation. In the 1960s he worked with chemicals to transfer the process to photography, video, and film, turning it into an all-encompassing strategy of image deconstruction, often within the iconographic framework of violence and sexuality as communicated by mass media.
Vostell’s combined décollage with car parts and television sets, being one of the first artists using such a device as part of a sculpture in 1958. In 1962 he joined the ...
