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About
Exhibitions
Biography
Reviews
Works
† Obituary
NO!art
occupies
the strategic
juncture where
artistic production
and socio-cultural
action meet.
BLALLA W. HALLMANN, born in 1941, in Quirl, earlier Germany. Since 1964 many social critical exhibitions. Already in 1975 he created his own obituary note: "In general there is nothing to say against resurrection, but when it becomes so heavy and even nearly impossible because of the iron and marble plates, the concrete and the dirt, then it may be better to live reversed". Died 1997. ►wikipedia
2013 THE ARTIST GRIPS THE PAINTBRUSH | Gallery Kunstwerk Nippes, Cologne
2007 DIE SPRACHE VERSCHLAGEN | Kunsthalle Recklinghausen
2005 WORKS OUT OF 30 YEARS | Kunsthaus Nuremberg
2004 WORK PUBLICATION | Gallery Yperit, Prag
2003 NO!-ON-SHOW | Gllery Berlin Art Project, Berlin
NO!art IN BUCHENWALD | Boris Lurie: Geschriebigtes ..., Stuttgart
Contribution: ►Das Bad Ausschwitzer Sternensinger Ensemble ...
NO!-ON SHOW | Groupshow, Gallery Berliner Kunstprojekt, Berlin
Contributions: ►Überfahrt
►Der Engel der Freiheit ...
►Love makes the world go round
►Du bist das Licht der Welt, AMERIKA ...
►Gott schützt die christlichen Werte ...
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.
