Eberhard bosslet artist sleeping robocam at work featuring studio mikka wellner manuel frolik
Eberhard Bosslet (born 1953) is a Germancontemporary artist who has been producing site-specific art and architectural-related works, such as sculpture, installation, light art and painting, all indoors and outdoors, since 1979. Born in Speyer, Germany, and living in Berlin and Dresden, he co-founded the artist group, "Material & Effect" (Material & Wirkung) in Berlin in 1981, and since 1980, has been the co-director of the artistspace "MOPEDS" in Berlin/Kreuzberg that is involved in curating and managing non-conventional artshows.
1979: Self-referential works in words and writing-form of painting, photography, wall-drawings, and plates; site-specific interior work with wall-drawings and plates.
Since 1979:
Sculptures and installations with electric light and electric steering;[1]
Performance "Per-/Re-ception" (Wahr-nehmen) in a hall at an industrial yard in Speyer, Germany, using electric installation, electric light, zinc sulfide (phosphorus); photographic details of existing situations in the hall, projected in color or black-and-white negative slides, on the situations themselves.
1980: Wood panels, coated with colored varnish, and variably arranged in layers.
Since 1980: Broken glass-panes, site-specific and installation works, as well as paintings with partially colored-coated broken glass, acrylic panes and flexible PVC sheets indoors and outdoors. view1. view2
1981: Works with roadway markings and roadblocks.
1982: "Mobilien & Immobilien" (Movables & Immovables), a series of photographs, produced with a painted Vespamotor scooter, and colored house facades at Tenerife/Canary Islandes. view
1982 - 84: "Mobiliar" (Furniture), and "Stand der Dinge" (Status Quo); photographs of interior designs in which the backgrounds and objects were painted. view
Since 1982:
Series of color photographs at the Canary Islands, Spain;
Urban exploration: so-called "scrap metal and sun"; Abandoned cars in southern landscape view;
"Interventions" in public space, site specific art,[2]
1983: Works of rubble at a waste dump.
1983–2011:
Works with ruins, so-called "Re/formations and side effects"; here, stabilization and destabilization of perception of conditions of industrial and residential buildings by white painted lines or black painted color fields;
Side-specific outdoor intervention. view
1985 - 88: Painting — each form complex has its own color and paint material; the "facade ground" is a significantly visible component, and is of equal value as the variables, "form, color, and paint material". view
Since 1985: "Supporting Measures" — indoor, space-related installations and sculptures with items of the building trade; here, new arrangement of space, apparent stabilization and destabilization of the building material and the space itself, by building in structural bodies. view
1986: "Basements" — low, floorplan-like sculptures, with concrete blocks and copper pipe, or bricks and copper pipe.
1987 - 1989|89: Sculptures of "Filing Cabinets" with wood, steel strips; tension and pressure keeps the new order of components stable. view
Since 1989:
"Tapestry" of industrial textiles, with no "ground" due to the color-form-material complexes, sewed up next to each other;
Wall fixtures, varying in type and shape, have a supporting and visual function. view
Since 1989:
Project drawings for planned sculptures and installations, computer-generated using a pixel-oriented program, and printed with a 24-needle printer;
"Pneumatic Pieces" — Free-standing works, with hydraulically or pneumatically driven lifting devices for inside; "contraptions" made of items from industrial and domestic parts. view
"Pneumatic Installations" — Installed works, with hydraulically or pneumatically driven lifting devices for both inside and outside; "contraptions" made of items from industrial and domestic parts. view
"Screens": Lattice-structures of rubber- or polyurethane-mounted on both sides of a wall; anchor bars inserted into holes in the walls, helical pressure springs, and anchor nuts have a visual function and hold the parts together.
"Gloriolen": cast reliefs, mounted on both sides of a wall, using the same principle as in "Screens", the cast reliefs are held together through anchor bars, helical pressure springs, and anchor nuts that also have a visual function. view
Since 1995: "Barrieren" (Barriers) — foundation-like, knee-high constructions in concrete and steel reinforcement, made on site, designed for the dimensions of the space, and blocking the evident path through the room. view
1998–2001: "Spacelab" — made out of living room lights from the 1950s–1970s, hanging from the ceiling. view
Since 2000:
"Analogic Discs"
Paintings: Trampolines are the support, which is a constructive and visual part of the appearance. The support, the form, the material and the color are different, and they are piled on each other. view
Since 2001
Biomorphic sculptures "Stool Archipelago", "Island growth"[4], "stump stools" [5] are groups of sculptures made of fibreglass plastic on the basis of known organic forms.
Since 2003
Colour photo series entitled Falsches Wasser (Fake Water) featuring ships and boats on land in town or countryside settings on the Canary Islands, Spain. [6]
Since 2006
EinRaumHaus (OneRoomHouse) colour photo series of small buildings in the landscape of the Canary Islands, Spain.[7]
Instant sculptures: The sculpture entitled "roundabout" for the public space, consisting of industrial units such as trolleys and fences, which contrary to its conventional use are connected to mega-structures. [8]
One man shows
Since 1981: "Interventions" in public space, Antwerp, Barcelona, Canary Islands, Duisburg (Belgium), Spain, Germany.
European sculpture made in USA, John Gibson Gallery, New York, USA (catalog).
BRD abstract tendenciens in new German art, Karl Bornstein Gallery, St. Monica, California, USA.
Spaces 88, Museo d'arte contemporanea Prato, Italy (catalog).
New Poverty, MeyersBloom Gallery, Santa Monica, California, USA.
1989: Intuition, John Gibson Gallery, New York, USA.
1990:
Three German Sculptors, Bosslet, Robbe, Staehle, Anthony Ralph Gallery, New York, USA.
Trans-Europe-Express, John Gibson Gallery, New York, USA.
Non-Sculpture, Barbara Farber Gallery, Amsterdam, the Netherlands.
The Collection 1988-90, Museo d'arte contemporanea Prato, Italy (catalog).
1991: Eurocard, John Gibson Gallery, New York, USA.
1992:
30th anniversary of Amnesty International, Hótel des arts, Paris, France (catalog).
Kunst werkt (Art works), Peter Stuyvesant Foundation, Stedelijk Museum Amsterdam, Foundación Miró, Barcelona, Palacio de la Lonja, Zaragoza, Spain (catalog).
The 1980s, John Gibson Gallery, New York, USA.
Humpty Dumty's Kaleidoscope: A new generation of German artists, Museum of Contemporary Art Sydney, Australia (catalog).
