John M. Armleder
| Type | Artist |
|---|---|
| Associated person(s) | |
| URLs | Wikipedia Documentation |
| Awards | |||||
|---|---|---|---|---|---|
| Exhibitions | |||||
|---|---|---|---|---|---|
| Solo exhibition | 2014 | John Armleder | Musée National Fernand Léger | Biot (Alpes-Maritimes) | |
| Solo exhibition | 2006 | Tate08 Series: John Armleder | Tate Liverpool | Liverpool | |
| Solo exhibition | 2000 | John Armleder: Open Ends | Museum of Modern Art | New York |
| Publications | ||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Monograph | 1999 | Hatje Cantz | John Armleder: At Any Speed | 978-3-89322-970-3 | Ostfildern-Ruit | Margrit Brehm |
Projects
Genf, Schweiz
Gründet mit Sylvie Fleury und seinem Sohn Stéphane Armleder das Genfer Plattenlabel Villa Magica Records.
Research and teaching
Lauanne/Braunschweig, Schweiz/Deutschland
Er lehrt an der Ecole cantonale d’art (ECAL) in Lausanne und seit 1995 an der Hochschule für Bildende Künste Braunschweig. Von 1992 bis 2000 war er Mitglied der Eidgenössischen Kunstkommission.
Education
Wales, Großbritannien
1969 besuchte er die Glamorgan Summer School in Wales/Großbritannien. Im gleichen Jahr gründete er zusammen mit Patrick Lucchini und Claude Rychner, mit denen er seit seiner Kindheit befreundet war, die Fluxus-„Groupe Ecart“.
Education
Genf, Schweiz
Mitte der 1960er Jahre hatte er seine ersten öffentlichen Auftritte als Musiker und mit Happenings, die von der Musik John Cages beeinflusst waren. Von 1966 bis 1967 studierte er an der Ecole des Beaux-Arts in Genf und war an Fluxus-Aktionen beteiligt.
Born
Genf, Schweiz
John Michael Armleder entstammt einer Genfer Hotelierfamilie. Sein Urgroßvater Richard Rodolphe Armleder gründete 1875 das Genfer Luxushotel Le Richemond, in dem John seine Jugend verbrachte.
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
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Astro 5 | 2014 | John M. Armleder | |
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Global Domes XII | 2000 | John M. Armleder | |