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Portrait Peter Meseck, Photo: Dietmar Kirves

PETER MESECK, born on November 1, 1954, in Berlin, Germany. He was co-founder of the avant-garde group endart in 1981 and opened the studio in the Oranienstrasse (Berlin-Kreuzberg) for the public. His assemblages and Poster-Collages are involved in social reality. Now he is working together with Friedrich Wall. Many shows in Berlin, Germany and Spain.—He died on 06.08.2019 at the age of 65 in Berlin.

2019  IN MEMORY OF PETER MESECK  | Salon 36, Berlin-Kreuzberg
2009  ENDART | Etchings 1986 - 1996 | Gallery Geisterbahn, Berlin
2007  NOPOSTER catalog with Friedrich Wall
          NOPOSTER with Friedrich Wall | insideout, Brunswick/Germany
2006  DONT KNOW 5% | Kinski Club, Berlin
          ZERO COMA NO [Null Koma nix] | Gallery scherer 8, Berlin
2004  AB-NORM together with Friedrich Wall and Dietmar Kirves | Kinski Club, Berlin
          HEAVY WEIHTS Show | Groupshow at Clayton Gallery, New York
2003  NO!-ON show | Galerie Berliner Kunstprojekt, Berlin
          SOUND@NO!art in BUCHENWALD by German Braindead Trio

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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