Timm Ulrichs (1940) - "Ich bin im Bilde" from La Lune en Rodage III

Timm Ulrichs: "Ich bin im Bilde" (1977)

Medium: Mixed Media
Material: Paper
Dimensions: 28 x 28 cm / frame and passepartout 35 x 35 x 4 cm

Editor: Edition Panderma, Basel
Year: published 1977
Edition: This is an unnumbered copy of 230 editions
(65 hors commerce were unnumbered)
Signature: Signed

Provenance:
Edition Panderma, Carl Laszlo Basel
Galerie von Bartha, Basel
Private Collection, Basel

Condition / Restauration:
Mint archival condition but signs of minor corrosion and aging on the metallic foil.

Further Information:

A rare limited edition of the portable collection of post-war and contemporary art La Lune en Rodage III. This is an unnumbered copy of 230 editions (65 hors commerce were unnumbered) and part of the third serie of the La Lune en Rodage books. La Lune en Rodage was published in three volumes in 1960, 1965 and 1977 containing a total of approximately 180 art pieces which provide an account of the artistic avant-garde scene between the 1950s and 1970s. The art works were gathered by Carl Laslzo and included the greatest artists of the time who contributed with important pieces, often marking a turning point in their production and carriers: Enrico Castellani’s work for example is his first documented graphic work and Piero Manzoni's multiple Achrome is the only one produced by the artist.

Biography:

Timm Ulrichs, born in 1940 in Berlin, is arguably one of the most important figures in German post-war art scene, generally labelled as a conceptual, performance and body artist. Ulrichs was educated in Hanover, where he studied architecture. During his university years, Ulrichs set up a private exhibition space, the Zimmergalerie (from time to time also a theater). At the same time, the artist has institutionalised his activities as the Center for Totalism, Banalism and Extemporism. Since the first show at the venue, "Kunst ist Leben, Leben ist Kunst!" (1961), Ulrichs has been the one who pursued the total combination of art and life - a vivid idea from the avant-garde to Pop Art - exhibited himself as the living work of art and a ready-made, signed with a tattoo in 1962. Later on, the artist continued to incorporate his own body into his art, one time employing his skin for a kind of photographic process, the other time tinkering with Walter Benjamin's essay "The Work of Art in the Age of Mechanical Reproduction" by becoming a sperm donor. In one of his breakthrough actions, Ulrichs - with a Socratic manner - ceased seeing any more art, pretending to be blind during Art Cologne in 1975. The artist focused critics' and curators' attention since his very emergence, beginning with the first retrospective at the Museum Haus Lange in Krefeld, only after a decade of prolific work, and the only five years later, displayed in Hanover and Heidelberg. Some of his most notable group exhibitions include "Konzeption – Conception" (1969) at the Städtisches Museum in Leverkusen, "Concrete Poetry, Visual Texts" (1970) at the Stedelijk Museum in Amsterdam and the Documenta in Kassel (1977). For more than four decades of his artistic prominence he has been lecturing, firstly as a guest professor at the Academy of Fine Arts in Braunschweig (1969-72), and subsequently at the Münster's academy, until his retirement in 2005. Currently Ulrichs lives and works in Berlin and Hanover.