CR 103. Year 1992/93

Free Jochen Gerz Cr 103 2 Web
Free Jochen Gerz Cr 103 1 Web

Die Senatorin für Kultur und Ausländerintegration warnt: Kunst ist unverständlich

Gerz is trying to work against the myth of the artist. Unreflective acceptance and mechanical, linear use of language and images result in their destruction as a form of communication, similar to what Vilém Flusser analysed and described as the fate of technical pictures. Here, two positions meet that are trying to reach related, perhaps even analogous goals. Their common ground is doubt and scepticism about things, things that are and yet are not, and the way things purport to be.

Andreas Vowinkel 1992

Es geht mithin darum, sich Denken und Stimme weder bestimmen noch verbieten zu lassen, und das ist nicht erst eine Frage der Redefreiheit, sondern eine Frage der Gewissensfreiheit, die der Redefreiheit zugrunde liegt. Dies angenommen, haben wir überhaupt erst eine Stimme, die sich hörbar machen kann.

Hermann Pfütze 2003


Work in Public Space

Billboard (silkscreen on paper), glued text, 240 x 360 cm

The billboards are mounted as advertisement for the Gerz exhibition Life after humanism in Bremen, Karlsruhe and Altenburg. The work has a dual status (advertising and art in public space). The billboard shows four photo pieces from the Free series (706 – 711) with different text banners stuck on at every venue. In Bremen the text refers to a bourgeois-humanistic concept of art, in Karlsruhe to the government-sponsored project devoted to the construction of homes for foreigners with uncertain asylum status at the time of documenta X and in Altenburg (former GDR) to German reunification.


Bremen 1992. Karlsruhe 1993. Dresden 1993. Altenburg 1993. Köln 1993


I: Dresden 1993, p. 24. Köln 1993b, p. 42. Bolzano 1999, pp. 68 - 69

II: Red. 1, 1992, p. 9. Bode 1992, p. 67. Tschechne 1993, pp. 60-62, Fleck 1995, p. 73. Red. 21, 1993. Red. 22, 1993

Access general bibliography



Exhibition of documentation

Bolzano 1999

My name is Jochen Gerz