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Portrait Franziska Becher, Foto: Claus Bach

Franziska Becher born 1988 in Annaberg/Germany. Concept artist. Her versatile, creative working methods, which are unable to be summed up in one concrete style or topic, make her pieces something very much individual. Her work is characterised by the combination of traditional values, identities and fortunes. Her ability to recognise tendencies in our society in everyday, personal dealings with one another is typical of Franziska Becher as human and artist. The question of identity, of whence and whither, is engaged by humans constantly and everywhere in the entire world.

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2021  AWARD MICHELANGELO / DANTE ALIGHIERI
           Socio culturale Roma, Rome, IT
           3. MIXED IDENTITIES | Line Contempory Art Space, London GB
           100 POKALE VON ZELLA-MEHLIS | Rathaus Zella-Mehlis, Germany, DE
           FUTURE LANDSCAPES - THE ROOM | Venice, IT
           FRAGMENTED IDENTITIES | Palazzo Abrizzi-Capello, Venice, IT
           SALVE! | 1. Strassen-Kunstfestival Weimar, Germany, DE

2020  AWARD RAFFAELO & GENOVA
           Scuola Grande di San Teodoro , Venice, IT
           SCHÖPFUNGSPROGRAMM - LOBGESANG UND ELEGIE
           Multimedia Project with Silke Gonska & Frieder Bergner
           Rathaus Suhl; St. Wigberti Kirche Sülzenbrücken; Berkach,
           Jüdische Synagoge; Nordhausen, Ratssaal; Neue Bibliothek and
           Paul-Schneider-Zentrum Weimar, DE
           BORDERS-ART FESTIVAL
           Biennale Architettura "Universes in Universe",  Venedig, IT
           TEILEN UND HABEN - Aufgeteilt! Von kleinen und großen Fürstenstaaten
           Dornburg, DE
           MIXED IDENTITIES, Line Contempory Art Space, London GB
           EXTENDED BODY | Line Contempory Art Space, London , GB
           EEBA (European Eye Bank Association)
           Art & Photo Exhibition, Hannover, DE

2019  BAUHAUS CAUSE 100 | KunstForum, Gotha, DE
           BAUHAUSPARADE | Opening New Bauhaus Museum, Weimar, DE
           COMING HOME - BAUHAUS 100 | Bauhausstraße 1, Weimar DE
           OLD C-HOSPITAL | Annaberg-Buchholz, DE
           JAHRESENDFLIMMERN
           Haus zum Bunten Löwen, Krämerbrücke, Erfurt, DE
2018  POP-UP STORE | NO SHOW MUSEUM, Zurich, CHE
           ARTIST RESIDENCE | wortundwirkung, Zurich CHE
           INTERVENTION | Department store, Zurich, CHE
           CULTURAL ACCESSOIRES |Dienstgebäude-Art Space, Zürich, CHE

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.

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