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Article

French, 20th century, male.

Active also active in Germany.

Born 1926, in Sauve; died 2 December 1987, in Les Eyzies (Dordogne).

Installation artist, performance artist, video artist. Multimedia.

Neo-Dadaism, Fluxus, Conceptual Art, Mail Art (forerunner).

The French artist Robert Filliou was closely associated with the Fluxus group, his career embracing French, German and American developments. Having moved to the USA in ...

Article

Czechoslovak, 20th century, male.

Born 1940, in Plzen.

Painter, draughtsman, performance artist, video artist. Multimedia.

Neo-Dadaism, Fluxus.

Between 1948 and 1956, Milan Knizak studied at the Mariánské Lázne school of music, at the academy of fine arts, and at the faculty of mathematics and physics in Prague. He taught at several American universities and art colleges in Germany and Austria. He was appointed rector of the academy of fine arts in Prague in ...

Article

Korean, 20th century, male.

Active in Germany and the USA.

Born 20 June 1932, in Seoul; died 29 January 2006, in Miami.

Installation artist, performance artist, video artist. Multimedia.

Neo-Dadaism, Fluxus, Cyber Art.

Paik Nam June’s family fled to Hong Kong, and later to Japan at the onslaught of the Korean War. He studied the history of art and music in Tokyo and continued his musical studies at Munich University and Freiburg Conservatory. During his studies, he was introduced to electronic music by Karlheinz Stockhausen and became friends with John Cage. In ...

Article

Grischka Petri

(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 ...