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around 40 artists, the exhibition followed the ZERO spirit, from two-dimensional paintings to the three-dimensional space. At the Martin-Gropius-Bau, artists from
Germany, Italy, France, Belgium, the Netherlands, Venezuela, Switzerland, Japan, the US, and Brazil were represented with around 200 works and ten space-filling installations. Among them were some rare works from renowned collections such as the Georges Pompidou Center, the Morsbroich Museum, the Stedelijk Museum in Amsterdam, and the Museum of Fine Arts in Düsseldorf. In addition, for the first time, works by several artists were shown: Manzoni, Verheyen, Fontana, Tinguely, Klein, Mack, and Piene. The highlight of the collaboration was the space-saving historical installation
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342:, the original concept was further developed. This was the result of a 1962 exhibition which, besides monochromy, also concerned itself with color, vibration, light, and movement. There were works by European artists, works from North and South America, as well as from Japan. The exhibition was initiated, organized, and financed by the artists themselves. The selection of the participants took place likewise by the artists, without curatorial assistance. The exhibition was accompanied by a jointly developed catalog.
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395:. Apart from the three protagonists of the German ZERO movement, Weihager devoted herself to a further twenty artists whose works ranged from the late 1950s to the 1990s. Unlike in the 1960s, this series of exhibitions was not initiated, organized, and financed by the artists themselves. A series of four publications was issued, with a first comprehensive overview of ZERO as a European movement, in four languages: German, English, Dutch, and French.
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733:"ZERO" – exhibition catalog of the most important travelling exhibition in America of Zero Group, edited by Heike van der Valentyn, with essays by Otto, Piene, Paulo Venencio Filho, Heinz-Norbert Jocks, Heike van den Valentyn, published by Museu Oscar Niemeyer, Iberê Camargo Foundation & Pinacoteca do Estado de São Paulo and printed in São Paulo, Brazil, 2013,
509:, with historical old and reconstructed installations, the first major show of ZERO in Australia. The exhibition included large installations by Castellani, Gianni Colombo, Mack, Peeters, Piene, Soto, Tinguely, and Uecker. A separate section was, for the first time in a ZERO show, dedicated to "father figures" of the movement:
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Also in 2006, the Museum der
Moderne Salzburg presented 120 works by 50 Zero artists. The works were loaned by the German collectors Gerhard and Anna Lenz, who had been involved with the Zero movement almost from its beginnings. Gerhard had first encountered the Zero group at an exhibition of Piene's
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auctioned off part the collection of
Gerhard and Anna Lenz in London. Initially valued at 12 million pounds ($ 19.5 million), the 49 paintings, drawings and low-relief panels made up from a variety of media were sold in an evening auction reaching £54.07 million, or about $ 84.5 million; unusual for
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In 2015 and 2016, this exhibit toured to the Martin-Gropius-Bau in Berlin and the
Stedelijk Museum in Amsterdam. Various subjects – articulated in time, space, color, reflection, vibration, light, and movement – showed works of art from the central years of the ZERO movement from 1957 to 1967. With
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In 2006, the Museum
Kunstpalast in Düsseldorf presented an overview exhibition of the international ZERO movement, with paintings and installations from many countries. Mack, Piene, and Uecker curated their own areas. Jean-Hubert Martin and Mattijs Visser organized the exhibit, with input from Henk
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The founding artists donated numerous works and their archives from the ZERO period, including photographs, correspondence, posters, invitations, press articles, and magazines. Additional works and documents were collected and shared through exhibitions and publications. These efforts include both
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Between 1993 and 1999, four ZERO exhibitions took place at
Galerie Villa Merkel in Esslingen, curated by art historian Renate Wiehager. The exhibition series, which was specific to the NUL Group from the Netherlands, ZERO Italy, and ZERO Paris, was completed in 1999 with the exhibition
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by Mack, Piene, and Uecker, which was presented for the first time at the
Documenta III 1964 exhibition. Mack presented an installation as an homage to his ZERO friends. Exhibitions and events were documented using previously unpublished photos and videos.
489:, an exhibition that featured more than 40 artists from over 10 countries. This was the first large-scale historical survey of the group's work in the United States. The exhibition was initiated by the ZERO foundation.
1306:, Paulo Venencio Filho, Heinz-Norbert Jocks, Heike van den Valentyn, published by Museu Oscar Niemeyer, Iberê Camargo Foundation & Pinacoteca do Estado de São Paulo and printed in São Paulo, Brazil, 2013,
538:. The artists donated works as well as their archives from the ZERO period comprising photographs, correspondence, invitation cards, newspaper clippings, and other documents. The foundation was set up by
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The ZERO Foundation is a German cultural institute established in
December 2008, with support of Düsseldorf-based ZERO artists, Heinz Mack], Otto Piene, and Günther Uecker (or their estates), along with
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presented the international director of the
Stedelijk Museum Amsterdam, Willem Sandberg, with monochromatic works of the young European artists' generation. In a close exchange with Mack, Piene, and
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in
Antwerp that for the first time gave ZERO an international audience. This show was the first major ZERO exhibition, after previous shows held at their studio by Mack and Piene in 1957.
1207:, Tiziana Caianiello, Heinz-Norbert Jocks, Catherine Millet, Lóránd Hegyi, Valerie L. Hillings, Heike van den Valentyn, Atsuo Yamamoto, Mattijs Visser. Hatje Cantz, Ostfildern 2006.
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work in a Düsseldorf bookshop more in 1963. Starting in 1974, the couple exhibited the collection in 12 shows over 25 years, including in Frankfurt, Barcelona, Moscow, and Warsaw.
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Visser went on to found the 0-Institute, focused on presenting the works and documents of international artists associated with ZERO, in a contemporary context.
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Peeters. The exhibition covered several aspects of the exhibitions from the Stedelijk Museum Amsterdam in the form of reconstructions of former installations.
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joined the initial founders. ZERO became an international movement, with artists from Germany, the Netherlands, Belgium, France, Switzerland, and Italy.
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The foundation was established in 2008, with a founding mission to preserve, present, study, and support the work of the international ZERO movement.
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the initial period (1958–1966) and the continuing impact of the work. The foundation's archive and library are available for research purposes.
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The living artists whose work it covers are actively involved in its work, an continue to share first-hand information about the ZERO era.
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901:"WHEN ATTITUDE BECOMES A FOUNDATION "Making the Impossible Possible" in North Rhine-Westphalia and—for a Few Days in July—New York City"
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in: "Kunst heute. Personen Analysen Dokumente", Rowohlt, Reinbek bei Hamburg, 1965; Neuauflage, Frankfurt/M, Berlin: Ullstein, 1986
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from Argentina, all of whom used the same visual languages than the original members in the same time period. This venue traveled to
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Aufbrüche. Manifeste, Manifestationen. Positionen in der bildenden Kunst zu Beginn der 60er Jahre in Berlin, Düsseldorf und München
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Das Ohr am Tatort. Heinz-Norbert Jocks im Gespräch mit Gotthard Graubner, Heinz Mack, Roman Opalka, Otto Piene und Günther Uecker
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included works from the museum's permanent collection by artists who were part of or exhibited with Group Zero, including
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Otto Piene, “The Development the Group “ZERO””, London: The Times Literary Supplement; September 3, 1964.
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was on display at the Multimedia Museum in Moscow, and in Sakıp Sabancı Museum in Istanbul, Turkey.
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Many of the ZERO artists are better known for their affiliations with other movements, including
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3 Men and a Posse, Chasing Newness: ‘Zero,’ a Look at a Movement, at the Guggenheim
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Hail, the Postwar Avant-Garde: ‘The Art of Zero,’ at Purchase College
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Klein, Fontana Collectors Lenz to Auction $ 19.5 Million of Art
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Zeitzeichen. Stationen Bildender Kunst in Nordrhein-Westfalen.
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ZERO – Internationale Künstler-Avantgarde der 50er/60er Jahre
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The Zero Era. The Lenz Schönberg Collection: Living in Art
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began the ZERO movement. Participants hailed from France (
925:"Hermann Goepfert Biography – Hermann Goepfert on artnet"
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a contemporary art sale, 74 of the 77 lots offered sold.
465:, Heinz Mack, Almir Mavignier, Henk Peeters, Otto Piene,
1302:"ZERO" edited by Heike van der Valentyn, with essays by
469:, Jean Tinguely, Luis Tomasello, and Günther Uecker.
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A Great Night for Sotheby’s Contemporary Art Auction
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European movement with Zero as the sum of its parts
1138:. DuMont, Cologne 2007 (Exhibition catalogue for
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632:ZERO in New York, 6 November - 20 December 2008
1156:. Propyläen, Frankfurt am Main / Berlin 1991.
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1266:Zero. Heinz Mack, Otto Piene, Günther Uecker
1134:Renate Buschmann, Stephan von Wiese (eds.):
791:The Solomon R. Guggenheim Foundation (SRGF)
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1154:ZERO. Eine Avantgarde der sechziger Jahre
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29:This article includes a list of general
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1122:Die Gruppe ZERO: Mack - Piene - Uecker
899:Goodeve, Thyrza Nichols (2015-07-13).
715:Catherine Hickley (January 20, 2010),
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486:ZERO: Countdown to Tomorrow, 1950s-60s
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101:Günther Uecker, photo by Lothar Wolleh
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474:ZERO: Countdown to the Future
410:(Curitiba, Brazil) showcased
234:Guiding principles and styles
1095:Resources in other libraries
1076:Resources in other libraries
1015:Why the Art Market Is Rising
1001:International Herald Tribune
980:International Herald Tribune
661:International Herald Tribune
641:Sperone Westwater, New York.
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1220:Otto Piene and Heinz Mack:
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1299:. Sent, Switzerland, 2009.
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696:Gauging the Impact of Zero
428:Gertrud Goldschmidt (GEGO)
282:ZERO, Guggenheim, New York
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1295:Gian Enzo Sperone (ed.):
1268:. Econ, Düsseldorf 1993,
1090:Resources in your library
1071:Resources in your library
997:An Almost Defiant Success
813:Museum of Old and New Art
503:Museum of Old and New Art
875:"ZERO-Foundation: Umzug"
436:Iberê Camargo Foundation
1258:. DuMont, Cologne 1984.
753:Neuberger Museum of Art
637:April 16, 2012, at the
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50:more precise citations.
1241:DuMont, Cologne 1989.
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408:Museu Oscar Niemeyer
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700:Wall Street Journal
676:(October 9, 2014),
532:Museum Kunst Palast
386:Retrospective shows
319:, an exhibition at
108:(usually styled as
1262:Heiner Stachelhaus
1036:Out from the ashes
558:Board of Directors
365:. You can help by
305:Paul van Hoeydonck
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253:. You can help by
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1057:Library resources
1019:New York Observer
905:The Brooklyn Rail
879:www.kunstforum.de
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481:Guggenheim Museum
467:Jesús Rafael Soto
455:Enrico Castellani
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