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Portrait Dominik Stahlberg

DOMINIK STAHLBERG, born 1977 in Hildesheim/Germany. He recognised soon that art is not a mirror to reflect the world in, but a hammer with which to shape it. So he studied sculptor's handicraft and went to Carrara/Italy where he found his material, the marvelous marble. His artworks are mainly made out of marble combined with synthetic materials. He changes the identity of the stone with various colors and surF.A.C.es. The objects effect the sense as young, flashy and artificial but you can divine the eternity of the stone behind the patina. The expression is radical and sarcastic, on the first view funny, but it keeps not away our tragic and sadness. Besides his sculpturing he was involved in graffiti art and social theater performances. — He lives and works in Massa-Carrara/Italy.

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2022  F.A.C. FronteAcciaioCromato | Statement, Carrara/Italien
2015  F.A.C. FronteAcciaioCromato | Established + Manifest, Carrara/Italy
2013  HOLE'S LOVERS | Interview, franzmagazine, Bozen
STAHLBERG-D | Info-booklet
SEVEN SINS | Museum of Contemporary Art, Naples/Italy
2012  NOW, YOU CAN FORGET ALL YOUR OLD IDEAS |
Lurie at Kennedy Center, Florence

DEPRESSIONS + CONQUESTS | Gallery Offenes Atelier, Villach/Austria
SEVEN SINS | Museum of Contemporary Art, Naples/Italy
EXHIBITION | Miguel Hernandez (Editions 4), Madrid/Spain
PIMP MY MARY II | first -ReFlashFusion, Carrara/Italy
EVENT MEDITERRANEO | Carrara/Italy
2011  NEW SCULPTURES
SEVEN SINS | Museum of Contemporary Art, Naples/Italy
TROY ART | Museu Brasileiro da Escultura, Sao Paulo/Brazil
EXHIBITION | Miguel Hernandez (Editions 1 - 3), Madrid/Spain
UNA, NESSUNA, CENTOMILA ITALIE | Naples/Italy
MAIL ART @ BISMARCK | Bismarck Museum , Bad Kissingen/Germany
PROJECT ANDANTE | Museum of Contemporary Art, Coruna/Spain
DREAMING OF LUCIDITY | Palazzo Zenobio, Venice
2009  HUMAN RIGHTS | Caserta/Italy
2008  INTERNATIONAL WAX CRAFT SYMPOSIUM
Ubon Ratchathani/Thailand

2007  NO EXCUSE 3x3 | UNESCO, Antwerpen/Belgium

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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