John M. Armleder
| Type | Artist |
|---|---|
| Associated person(s) | |
| URLs | Wikipedia Documentation |
| Exhibitions | |||||
|---|---|---|---|---|---|
| Solo exhibition | 2014 | John Armleder | Musée National Fernand Léger | Biot, Alpes-Maritimes (FR) | |
| Solo exhibition | 2006 | Tate08 Series: John Armleder | Tate Liverpool | Liverpool, England (UK) | |
| Solo exhibition | 2000 | John Armleder: Open Ends | Museum of Modern Art | New York (US) |
| Publications | ||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Monography | 1999 | Hatje Cantz | John Armleder: At Any Speed | 978-3-89322-970-3 | Ostfildern-Ruit (DE) | Margrit Brehm |
Projects
Geneva, Switzerland
Founds the Geneva record label Villa Magica Records with Sylvie Fleury and his son Stéphane Armleder.
Research and teaching
Lausanne/Braunschweig, Switzerland/Germany
He teaches at the Ecole Cantonale d’Art (ECAL) in Lausanne and since 1995 at the Braunschweig University of Fine Arts. From 1992 to 2000 he was a member of the Federal Art Commission.
Education
, Wales, United Kingdom
In 1969 he visited the Glamorgan Summer School in Wales, United Kingdom. In the same year he founded the Fluxus “Groupe Ecart” together with Patrick Lucchini and Claude Rychner, with whom he had been friends since childhood.
Education
Geneva, Switzerland
In the mid-1960s he had his first public appearances as a musician and with happenings that were influenced by the music of John Cage. From 1966 to 1967 he studied at the Ecole des Beaux-Arts in Geneva and was involved in Fluxus actions.
Born
Geneva, Switzerland
John Michael Armleder comes from a Geneva hotelier family. His great-grandfather Richard Rodolphe Armleder founded the Geneva luxury hotel Le Richemond in 1875, where John spent his youth.
I’ve actually always liked it when my work is included in some new movement, even if the label is restrictive and even if the movement itself is just a fad, because the claim makes the work change. Not physically, of course—but the understanding of it, for me as well as for others. Whenever that happens, a new horizon suddenly opens up—I find myself in a situation I never would have sought on my own. If there were no one to feed on what I do and effect these kinds of unexpected changes, it would all become very sterile to me. It’s a dynamic process: From one moment, one context, one milieu to another, everything shifts. That said, though I may like it when people see my art in such disparate ways, I don’t dwell on it. I have never spent much time considering what other people think about my work, because I myself don’t quite know what I think about it, and whatever it is I think about it changes over time. Most important, I’ve never believed that what I think about my own work has anything to do with the work itself. An artwork’s success, in a way, depends on its capacity to co-opt an existing situation and to be co-opted in return. I’m therefore quite happy to see people re-create my work for their own use and to adapt it to their own frames of reference. John Armleder
https://www.artforum.com/print/201104/to-be-determined-an-interview-with-john-armleder-27826
(2)
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Astro 5 | 2014 | John M. Armleder | |
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Global Domes XII | 2000 | John M. Armleder | |