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About
Animations
Egofragments
Rubber Live
Overpaintings
Volery
Publications
Exhibitions

NO!art
occupies
the strategic
juncture where
artistic production
and socio-cultural
action meet.

Stuetzpunkt
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NO!manipulation

 
Portrait Mathilda Wolf,  Photo: Dietmar Kirves

MATHILDA WOLF, born in Wiesbaden, Germany. Studied at the Städelschule in Frankfurt/Main from 1971 to 1977. She invented the LIVING RUBBER PICTURE with the world premiere in 1973 at the Staedel, followed by rubber-picture-shows in Berlin and in New York in 1974. Had exhibitions with rubber-objects, videos, live-shows and sound. — Since 1987 shows with erotic paper-girls in Cologne, Berlin and New York. — Since 1996 mixed media paintings in connection with electro-animations, photos and her new techniques. — Lives in Berlin.

2019  NEW WORKS | Website
2011  VOLERY | New Electric Animations
2009  NEIGHBOORHOODS | Haus am Lützowplatz, Berlin
2008  EROTICART | Gallery Palazzo Vecchio, Vibonati/Italy
2007  EGO FRAGMENTS | NO!art webshow no. 1, Berlin
2004  HEAVY WEIGHTS SHOW | Clayton Gallery & Outlaw Art Museum, New York
2003  NO!art in BUCHENWALD | Eckhart Holzboog Verlag, Stuttgart
          NO!-ON-SHOW | Berliner Kunstprojekt, Berlin
2001  WARE LIEBE (REAL LOVE) | Gallery Schaufenster, Berlin
1997  CONGRESS OF RESISTANCE | New York

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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