Michael Hofstetter (artist)

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Michael Hofstetter (born February 10, 1961 in Stuttgart ) is a German artist, art theorist, graphic artist, lecturer and curator living in Munich .

Life

Michael Hofstetter grew up in Langenargen on Lake Constance. 1983–1985 he studied in Tübingen basic training in visual design with Martin Schmid at the drawing institute of the Eberhard Karls University as well as German literature, philosophy and art history (among others with Dieter Jähnig and Paul Hoffmann ). 1985–1990 he studied painting and graphics at the Academy of Fine Arts in Munich (among others with Gerd Winner (master class), Franz Erhard Walther , Bernhard Johannes Blume , Raimund Kummer ), 1991–1992 at the School of Visual Arts New York ( with Sandy Skoglund , Dennis Adams, Timothy Druckrey). 1992–1995 he was a lecturer ( Technology as Ideology - On the Relationship between Medium and Image ), then 2009–2015 artistic assistant at the Munich Chair for Photography ( Dieter Rehm ). In 2017/2018 he taught sculpture as a substitute professor (successor to Gregor Schneider) at the Academy of Fine Arts in Munich.

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"Photography was an invention of the Catholic Church," claims Hofstetter's early installation of the same name from 1988, which was awarded the 1st German Photo Prize (it shows, among other things, camera obscura images of the two reliquary shrines in the Langenargen baroque church of St. Martin ). The photographic is central in Hofstetter's work - but not as an aesthetic process, but in an existential sense, as we live in a world "which - as Kracauer noted - has taken on a photographic face and no longer distinguishes between reality and fiction [...] makes ”, say Hubertus Gaßner and Bernhart Schwenk. Hofstetter works on this interface between reality and fiction: “The technical nature of the large-format camera forms an apparatus-based model of the […] entanglement of reception and reference, on the threshold between production / reception, representation / seduction, privacy / public, remembering / forgetting , Potentiality / dead end, arising / passing away. ”In doing so, he“ resorts to conceptual procedures that problematize the observer's self-positioning in an installation ”and examines the head as a camera (this is the title of a lecture series as part of the Open Academy at the Munich Adult Education Center 2003) also as a theorist.

The black box of the camera stands opposite the white cube of the exhibition space. Hofstetter's exploration of the art operating system is “guided from within and therefore perhaps all the more subversive”, which declares “the art world to be a work of art” by “revealing formal, social and ideological aspects of its functional mechanisms”. A “context-related and context-reflective art in context”, which does not evade the dialectic of enlightened modernity and barbarism: “With the entry into modernity, with the age of the Enlightenment, humans settled more and more into this world. This setup went hand in hand with the fading out of the world. The concept of the 'white cube', the neutralized exhibition space in which EVERYTHING can be exhibited, is comparable to the apartment of the 20th century in the western half of the world. The cleaned interior, the home , corresponds to the cleaned interior museum. As a 'pure space', it enters into a dialectical relationship to the dirt of the outside. In this way he creates and sanctions the barbarism of the outside. "

With this in mind, it is the task of art to “show the world a future again”. Because, as the philosopher Karin Hutflötz explains in her reflection on Hofstetter's neon installation upcycling from 2013: “The reality of works of art is [...] not their market price, but their power as a possibility to move things in the set context and thus their non-identifiability and to focus on the fullness of interpretation. "

Solo exhibitions

  • 2020 feelings, abysses, coincidences, accidents , art museum Kloster Unser Lieben Frauen Magdeburg
  • 2018 Painting , Neue Galerie Landshut (reactive environment with Stephan Conrady)
  • 2012 Loser On The Secondary Market , Galerie Royal, Munich
  • 2012 play away , art pavilion, Munich (reactive environment with Kay Winkler )
  • 2009 Bicepteur , Galerie Ruzicska /// Weiss, Düsseldorf (reactive environment with Niklas Nitschke)
  • Prepare now in 2009 , STATION FOE 156, Munich
  • 2008 was not meant like that, Maxim Kino May 9, 2008, Munich (Screening)
  • 2007 Design trap (UMUMUM), Art in Aquamarine (curated by Andreas Stetka), Munich (reactive environment with Jo Melf)
  • 2005 what are you working on at the moment? , Galerie Ruzicska /// Weiss, Düsseldorf
  • 2005 booster (edited version) , Nusser & Baumgart Contemporary, Munich
  • 2004 Spring , Galerie Ruwitt /// Weiss, Düsseldorf
  • 2002 Mobbing & Mode , Mathias Kampl project room, Berlin
  • 2002 as well as , Galerie Nusser & Baumgart, Munich
  • 2001 Mobbing & Fashion , Mathias Kampl Gallery, Munich
  • 2000 What should I do? , Schessl room, Munich
  • 1998 Kino Kino , Galerie Otto Schweins, Cologne
  • 1998 Storage room cleared out (many worlds, many selves, many gods) , Kunststiftung Stuttgart (reactive environment with Olaf Probst)
  • 1997 Die Schwelle , Städtische Galerie im Lenbachhaus, Munich
  • 1995 in place of , Galerie Otto Schweins, Cologne
  • 1995 Hamlet machine , multimedia installation, Podewiltheater, Berlin
  • 1994 from Hörensagen , Kunst-Bureau Freilassing
  • 1993 The Promise , Otto Schweins Galerie, Cologne
  • 1993 put on- , Binder & Gallery Rid, Munich
  • 1990 ORAM LITTORIS PRIMI LEGO , Office Orange, Siemens, Munich
  • 1990 Mirroring , Munich Academy Gallery

Group exhibitions

  • 2020 Amish Quilts meet Modern Art , State Textile and Industry Museum Augsburg (tim)
  • 2019 Utopia Passion. A temporary installation on the Stiftsplatz of Neuzelle Abbey with projects by Alexandra Hopf, Tamara KE, Armin Hartenstein and Michael Hofstetter , exhibition architecture and curation Niklas Nitschke, Kunstverein Kloster Neuzelle
  • 2018 Klaus von Gaffron against the rest of the world, KUNST BLOCK BALVE, Munich
  • 2015 Rhythm Section, IV Odessa Biennale of Contemporary Art , Museum of Odessa Modern Art, Odessa, Ukraine
  • 2015 Rhythm & Method , Gallery of Artists, Munich
  • 2015 [kunst | stoff] , State Textile and Industry Museum Augsburg (tim)
  • 2014 Rhythm Section , Center of Contemporary Art, Tbilisi, Georgia
  • 2014/2015 Daily Memories , Art Museum Kloster Unser Lieben Frauen Magdeburg (installation upcycling )
  • 2014 Beyond Beyond the Brillo Box. 50 Years End of Art , Galerie Royal, Munich
  • 2013 0: 1 , Koktebel, Ukraine
  • 2013 Heribert Heindl - Michael Hofstetter - Valio Tchenkov, KunstHausQuelle, Wackersberg (installation upcycling )
  • 2013 Vanity Flair , Haus der Kunst Munich (installation upcycling )
  • 2011 Form and Version , Galerie Zanderkasten, Dresden
  • 2011 Kunstherberge Birkenau , Munich (installation longing lamp )
  • 2010 5 x 3 2010 , Kunstraum Düsseldorf
  • 2009 Drawing today, Galerie Royal, Munich
  • 2008 SHIFT, Galerie Ruzicska /// Weiss, Düsseldorf
  • 2008 Walking in Many Directions , KIT - Art in the Tunnel, Kunsthalle Düsseldorf (curated by Gabriele Orsech and Bernd Ruzicska)
  • 2008 GOLD , Nusser & Baumgart Contemporary, Munich
  • 2008 2858 , Galerie der Künstler, Munich
  • 2007 Odds and Ends , Galerie Ruzicska /// Weiss, Düsseldorf
  • 2007 also and not only that ……, Artothek, Munich
  • 2006 Castellón Painting Prize 2006, Museo de Bellas Artes, Castellón, Spain
  • 2006 SNAFU . Media, myths, mind control , Hamburger Kunsthalle
  • 2006 "À Rebours " - Escapism and the Terror of the Sublime, Projektraum General Public, Berlin (compiled by Michael Schultze)
  • 2003 telling a work of art , Public Art Gallery, Dunedin, New Zealand (curated by Karin Sander )
  • 2003 Situations, Galerie der Künstler, Munich
  • 2002 Reconstructions , Biennial of Centinje IV, Montenegro
  • 2002 ZIPP , Kasseler Kunstverein ( THE WAR® with Rudolf Herz )
  • 2002 Rethinking: Space, Time & Architecture , Projektraum Kampl, Berlin ( inverted paradise with Ulrich Königs)
  • 2002 QUIVID I - on behalf of the public, Halle Technical Town Hall, Munich
  • 2001 UNUSUAL PORTRAITS, Mathias Kampl Gallery, Munich
  • 2001 mental scape [a library] , FOE 156, Munich (curated by Christopher Kramatschek)
  • 2001 on the road , Academy of Fine Arts, Munich
  • 2001 cool cuts [movie passion] , space KITCHEN, Seoul, Korea
  • 2000 Open spaces, emptiness, limit, landscape , Stuttgart cultural region
  • 1999 The Xmas Project , Kent Gallery, New York
  • 1998 18th traveling exhibition of the Art Foundation Baden-Württemberg (scholarship holders 1996)
  • 1997 “Something always follows something else”, Galerie Szuper, Kunstpark Forum im Kunstpark Ost, Munich
  • 1997 Media Worlds , Sindelfingen City Gallery
  • 1997 URBAN CAMERA, Dominican monastery St. Albertus Magnus, Braunschweig
  • 1996 Lichtbilder - light boxes, Wittenbrink Gallery, Munich
  • 1996 Radical Pictures. 2nd Austrian Triennial on Photography 1996 , Neue Galerie am Landesmuseum Joanneum, Graz
  • 1996 1,2,3,4 , Galerie Binder, Munich
  • 1995 Trick or Treat !, Otto Schweins as guest at Galerie Wiensowski + Harbord, Berlin
  • 1995 Palace of the Arts , Kölnischer Kunstverein
  • 1995 Bavarian State Prize Winner 1994, interimsgalerie 2, Galerie der Künstler, Munich
  • 1994 URBAN CAMERA, New Art Association Aschaffenburg
  • 1994 Sharp in Looking , House of Art, Munich
  • 1993 URBAN CAMERA, Kunstverein Augsburg
  • 1992 MODEL , Ritterwerke Pasing, Munich
  • 1992 2nd International Advertising Art Biennale , Munich
  • 1991 Scenarios of Reality , Gallery of Artists, Munich
  • 1991 In the noise of the city , Sprengel Museum, Hanover
  • 1990 Sectors, Academy of Fine Arts Munich
  • 1989 5 years of the Braunschweig Photo Museum , Braunschweig
  • 1989 1st German Photo Prize '89 , Stuttgart
  • 1988 Irritation, Lothringer Strasse 13, Munich

Exhibition curation

  • 2016 Notel Prinzregent , Hotel Prinzregent, Munich; Courators: Jonathan Drews, Kim Nobel, Janina Totzauer
  • 2012 eyeeye , Lothringerstraße 13, Munich; Co-curator: Robert Voith
  • 2011 Seven stars for Bad Reichenhall , site-specific interventions in Bad Reichenhall by Prof. Rehm
  • 2005 We're still working on not working anymore, Galerie der Künstler, Munich; Co-curators: Olaf Probst, Stefan Schessl
  • 2003 Fishing in the Pool, Bus / Bachhofer Room, Munich; Co-curator: Joss Bachhofer
  • 2001 Make Your Geppo , Galerie Mathias Kampl, Munich
  • 2000 ne travaillez jamais , international artist in Munich studios; Courators: Olaf Probst, Stefan Schessl, Michael Schultze
  • 1995 The Second Look , House of Art Munich; Co-curator: Dieter Rehm
  • 1994 Aimed at , Deutsches Museum, Flugwerft Schleißheim; Co-curator: Dieter Rehm

Texts

  • Kirsten Kleie: resolution in / out - resolution in = out. In: Projection - Photographic Claims. Darmstadt Days of Photography from April 22 to 24, 2016, ISBN 978-3-9813629-6-1 , p. 156.
  • All trains open . In: Rudolf Herz, ZUGZWANG. Duchamp Hitler Hoffmann . ed. by Heinz Schütz, Belleville, Munich 2013, ISBN 978-3-943157-10-9 , pp. 62–66
  • Darkroom awareness . In: 200 Years of the Academy of Fine Arts Munich, Festschrift. Hirmer, Munich 2008, ISBN 978-3-7774-4205-1 .
  • (Er) testimony of one's own use . In: Lido Magazin 8 . KIT - Art in the Tunnel, Düsseldorf 2008.
  • with Elias Hassos: A conversation about photography . In: Elias Hassos: Photographs . DZ Bank art grant 2002/2003.
  • see read read out provided - the gray value no. 19 . In: … I don't see that you don't see… , publication for the exhibition by Olaf Probst. Collage, FOE 156, Munich 2002.
  • Who still wants to be radical? In: Friedrich Buhl: Radikalitätsdefizit , catalog for the exhibition Debütanten 2000. Galerie der Künstler, Munich 2000.
  • On the stage of desire . In: Michael Schultze : Where is it? , Catalog for the exhibition Debutanten 1997 . Gallery of Artists, Munich 1997.
  • At the end of the reconnaissance . In: Barbara Probst: Interieurs 1992 , catalog for the exhibition Debütanten 93 in the Galerie der Künstler, Munich 1993.
  • and once again a century ends. In: GOTTWALD - Johannes Gottwald Werke 1986–1993, catalog for the exhibition at the Munich Academy and the gallery in the Ganserhaus in Wasserburg am Inn, pp. 3–7.
  • "Barbara Probst" . In: Barbara Probst : Barbara Probst. Akademiegalerie Munich 1990, ISBN 3-00-003224-X .

Awards and grants

  • 1999 USA scholarship from the Free State of Bavaria (Los Angeles)
  • 1996 Scholarship from the Baden-Württemberg Art Foundation
  • 1995 Scholarship from the Bonn Art Fund
  • 1994 Bavarian State Promotion Prize
  • 1993 Award of the City of Munich
  • 1991 DAAD annual scholarship (School of Visual Arts New York)
  • 1991 Art grant from the Bavarian Academy of Fine Arts
  • 1990 Debut Prize from the Academy of Fine Arts in Munich
  • 1988 Deutscher Photo-Förderpreis '89, Stuttgart (for the installation Photography was an invention of the Catholic Church )

Collections

  • Gallery City of Sindelfingen
  • Municipal gallery in the Lenbachhaus, Munich
  • Museum Joanneum, Neue Galerie, Graz
  • BMW Group, Munich
  • Allianz Art Collection, Munich
  • R + M Goedl collection, Assenhausen
  • Karl Bayer Collection, Mammendorf
  • Decker Collection, Essen
  • ALTANA Kulturstiftung, Frankfurt
  • Kunstmuseum Kloster Unser Lieben Frauen, Magdeburg

literature

  • Frank Barth and Dirck Möllmann: Michael Hofstetter, SPAM . In: SNAFU. Media, Myths, Mind Control , Hamburger Kunsthalle 2006.
  • Dorothée Bauerle-Willert and Shiva Lachen: Michael Hofstetter + Kay Winkler. Earn - gamble . In: Michael Hofstetter VOL 3 / 2011–2019 . Kunstmuseum Kloster Unser Lieben Frauen Magdeburg, Annegret Laabs, Uwe Gellner (eds.), Modo Verlag, Freiburg i. Br. 2019, German pp. 180–190, engl. Pp. 194-203 (translation: Karl Detering).
  • Professional Association of Visual Artists Munich and Obb. E. V .: Galerie der Künstler 1977–2014, o. O. 2015, ISBN 978-3-945337-00-4
  • Ilka Becker: Michael Hofstetter - Cinema Cinema . In: Paradex No. 0, June 1998, p. 25.
  • Detlef Bluemler: About Michael Hofstetter . In: In the noise of the city. 10 installations in Hanover city center, ed. by Lothar Romain. Hirmer Verlag, Munich 1991, ISBN 3-7774-5770-1 , pp. 57-61.
  • Thomas Dreher: The context of art in an octagon . In: 20 Years of the Baden-Württemberg Art Foundation - Medial Worlds , Sindelfingen City Gallery, ed. from the Kunststiftung Baden-Württemberg, 1997, ISBN 3-932679-02-4 , pp. 32–41.
  • Thomas Dreher: Michael Hofstetter: The threshold: Lenbachhaus . In: Michael Hofstetter: Die Schwelle , Städtische Galerie im Lenbachhaus (ed.), Munich 1998.
  • Thomas Dreher: Art, Entertainment & Fiction: Three examples (Endcommercial, Michael Hofstetter, Pierre Huyghe) . In: Thomas Wulffen: Fiktion der Kunst der Fiktion , Kunstforum , Vol. 202 / May – June 2010, pp. 92–97.
  • Nastasja Dresler: Vanity Flair - luxury and transience . In: gallerytalk.net , online magazine for contemporary art, 2013, online (archive version from October 13, 2013).
  • Werner Fenz and Reinhard Braun (eds.): Radical pictures . 2nd Austrian Triennial on Photography 1996 , 2 volumes. New gallery at the Landesmuseum Joanneum + Künstlerhaus, Graz 1996, ISBN 3-900508-17-8 , Volume 1: pp. 80–83, Volume 2: pp. 44/45.
  • Helmut Friedel: Sublime . In: Michael Hofstetter: Die Schwelle , Städtische Galerie im Lenbachhaus (ed.), Munich 1998, ISBN 3-88645-136-4
  • Hubertus Gaßner and Bernhart Schwenk: Scharf im Blick , Haus der Kunst (ed.), Munich 1994, p. 7, p. 9, p. 10, pp. 22-25
  • Nadine Hartmann: OFF-SPACES: STATION FOE 156 in Munich . art presents alternative art locations in Germany. This time: the FOE 156 station in Munich, 2010.
  • Maya Hermens: An Artist Didactic of the Now. Michael Hofstetter VOL3 / 2011–2019 . In: KUNST + UNTERRICHT Heft 441/442, Friedrich Verlag, Hannover 2020, p. 77, ISSN  0931-7112
  • Justin Hoffmann: Transformations of Allegorical Thought . In: Michael Hofstetter: STUDERE - work 1985–1990 , catalog on the occasion of the exhibition Debutanten 1990 of the Academy of Fine Arts Munich, pp. 2–14.
  • Justin Hoffmann: Michael Hofstetter . In: Kunstbulletin , July 1991.
  • Michael Hofstetter: STUDERE - work 1985–1990, catalog on the occasion of the exhibition Debutanten 1990 at the Academy of Fine Arts in Munich.
  • Michael Hofstetter: The update of the circumstances 1990–1995, with the support of the Kunstfonds e. V. Bonn created catalog, ISBN 3-922865-64-X .
  • Michael Hofstetter, Ulrich Königs with ifau, Michael Mackenrodt: Geppo in Göppingen . In: Jochem Schneider and Christine Baumgärtner (eds.): Open spaces / Open Spaces , Edition Axel Menges, Stuttgart / London 2000, ISBN 3-930698-99-4 , pp. 82–87.
  • Klaus Honnef: Michael Hofstetter . In: 1. Deutscher Photopreis '89 , edition cantz, Stuttgart 1989, ISBN 3-89322-139-5 , p. 122.
  • Karin Hutflötz: Michael Hofstetter, Upcycling, 2013 . In: daily memories , ed. by Annegret Laabs and Uwe Gellner, Art Museum Kloster Unser Lieben Frauen Magdeburg 2015, ISBN 978-3-9816665-3-3 , pp. 60–63.
  • Karin Hutflötz: upcycling 2013 . In: Michael Hofstetter VOL 3 / 2011–2019 . modo publishing house, Freiburg i. Br. 2019, Ger. 206–211, engl. Pp. 214-219 (translation: Paul Bowman).
  • Johannes Kirschenmann and Florian Matzner (eds.): The Allianz Art Collection - A journey of discovery through Germany, Allianz Deutschland AG / Allianz SE 2015, ISBN 978-3-945317-12-9 , p. 38.
  • Alice Koegel: Should art be fun? Michael Hofstetter's room assemblage Kino Kino. In: Kölner Stadtrevue, June 1998, p. 157.
  • Alice Koegel: Hofstetter . In: on the way - scholarship holders of the Academy , Academy of Fine Arts (ed.), Munich 2001, pp. 78–83.
  • Ulrich Königs and Michael Hofstetter: Inverted Paradise. In: Rethinking: Space Time Architecture. A dialogue between art and architecture , BDA + Staatliche Museen Preußischer Kulturbesitz (ed.), Jovis, Berlin 2002, ISBN 3-931321-69-X , pp. 70 f.
  • Bernd Kronenberg, ideology and medialized reality . In: Michael Hofstetter: The update of the circumstances, work 1990–1995 , 1995.
  • Kunstmuseum Kloster Unser Lieben Frauen Magdeburg, Annegret Laabs, Uwe Gellner (Eds.): Michael Hofstetter VOL 3 / 2011–2019 . modo publishing house, Freiburg i. Br. 2019, ISBN 978-3-86833-253-7 .
  • Ulrich Mellitzer: In the network of models - Michael Hofstetter's nested world designs . In: Michael Hofstetter: The update of the circumstances, work 1990–1995 , 1995.
  • Karl Borromäus Murr: Michael Hofstetter, Webfalten, 2015 . In ders. (Ed.): Kunst | Stoff , Hirmer Verlag, Munich 2015, ISBN 978-3-7774-2457-6 , pp. 52–57.
  • Karl Borromäus Murr: Stoff-Wechsel / Material Change . In: Michael Hofstetter VOL 3 / 2011–2019 . Kunstmuseum Kloster Unser Lieben Frauen Magdeburg, Annegret Laabs, Uwe Gellner (eds.), Modo Verlag, Freiburg i. Br. 2019, modo Verlag, Freiburg i. Br. 2019, ISBN 978-3-86833-253-7 , German pp. 223-233, engl. Pp. 235-244 (translation: Paul Bowman).
  • Piet Zwart Institut / Revolver - Archive for Contemporary Art: Another publication, Rotterdam 2007, U1 (Cover image), ISBN 978-3-86588-375-9 .
  • Evelyn Pschak: The snot of life - gold at Nusser & Baumgart Contemporary, Munich . In: artnet Review , 10/2008.
  • Sabine Reithmaier: What is created is worth it to perish . In: Süddeutsche Zeitung March 13, 2020.
  • Eva Ruhland: Michael Hofstetter . In: Michael Hofstetter: vom hearensagen , Kunst-Bureau Freilassing (ed.), 1994.
  • Michael Schultze: Behind closed doors . In: Michael Hofstetter: Die Schwelle , Städtische Galerie im Lenbachhaus (ed.), Munich 1998.
  • Heinz Schütz: In the media horizon - conversation with Michael Hofstetter. In Michael Hofstetter: The updating of the circumstances, work 1990–1995 , Munich 1995, ISBN 3-922865-64-X
  • Heinz Schütz: Radical Images - 2nd Austrian Triennial on Photography . In: Kunstforum , vol. 135, October 1996 - January 1997, p. 345 ff.
  • Ella Tiemann: "Art has to show the world a future again". Interview with Michael Hofstetter. In: cult: Kulturzeitung der Theaterakademie August Everding No. 56, February / March 2018, pp. 14–15.
  • Stephan Trescher: Light Boxes. Leuchtkastenkunst , ed. by Bernhard Wittenbrink, Verlag für moderne Kunst Nürnberg 1999, ISBN 3-933096-23-5 , p. 54/55, p. 114/115, p. 155/156.
  • Astrid Weg: United in a spectacle . In: Texts on Art , March 1996.
  • Hanne Weskott: Michael Hofstetter . In: Critique 2/1993, Munich, pp. 84–87.
  • Karin Wimmer: The inner necessity . In: Rhythm Section (Ed.): Rhythm and Method - Volume2 , Munich 2015, ISBN 978-3-945296-21-9 , pp. 4–5.

Web links

Individual evidence

  1. ^ Gallery Stadt Sindelfingen: 20 years of the Baden-Württemberg Art Foundation - Medial Worlds . Ed .: Art Foundation Baden-Württemberg. 1997, ISBN 3-932679-02-4 , pp. 75 .
  2. ↑ 1st German Photo Prize '89 . edition cantz, Stuttgart 1989, ISBN 3-89322-139-5 , pp. 122 .
  3. ↑ Hubertus Gaßner and Bernhart Schwenk: Sharp in looking . Ed .: House of Art. Munich 1994, p. 9 .
  4. ^ Michael Hofstetter: The continuation of the circumstances 1990-1995 . Munich 1995, ISBN 3-922865-64-X , p. 6 .
  5. ↑ Thomas Dreher: Context Art in the Octagon . In: Kunststiftung Baden-Württemberg (ed.): 20 years of the Kunststiftung Baden-Württemberg - Medial Worlds . 1997, ISBN 3-932679-02-4 , pp. 33 .
  6. ↑ Hubertus Gaßner and Bernhart Schwenk: Sharp in looking . Ed .: House of Art. Munich 1994, p. 7 .
  7. ↑ Thomas Dreher: Michael Hofstetter: The threshold: Lenbachhaus . Ed .: Städtische Galerie im Lenbachhaus. Munich 1998, ISBN 3-88645-136-4 , p. 27 .
  8. ↑ Michael Hofstetter: Removed from everything / dominating everything . Ed .: House of Art. Munich 1994, p. 23 .
  9. ↑ Michael Hofstetter in an interview with Ella Tiemann. In: cult: Kulturzeitung der Theaterakademie August Everding No. 56, February / March 2018, pp. 14–15
  10. ↑ Karin Hutflötz: Michael Hofstetter, Upcycling, 2013 . In: Annegret Laabs and Uwe Gellner (eds.): Daily memories . Kunstmuseum Kloster Unser Lieben Frauen Magdeburg, 2015, ISBN 978-3-9816665-3-3 , p. 60 .
  11. ↑ Michael Hofstetter: feelings, abysses, coincidences, misfortunes. Kunstmuseum Kloster Unser Lieben Frauen Magdeburg, 2020, accessed on May 16, 2020 .
  12. ↑ 2018 program of the new Landshut Gallery , accessed on August 11, 2018
  13. ↑ Loser On The Secondary Market , Galerie Royal, Munich , accessed on August 11, 2018
  14. ↑ play , Kunstpavillon München , accessed on August 11, 2018
  15. ↑ Astrid Mayerle: Fashion, Mobbing and Art. In: The world. April 25, 2001, Retrieved August 8, 2018 .
  16. ↑ Christoph Funke: Shakespeare out of the box. Heiner Müller's “Hamlet machine” as a multi-media spectacle in Podewil . In: Der Tagesspiegel . Berlin May 2, 1995, p. 20 .
  17. ↑ Ulrich Mellitzer: The writing as a sign of failed representation. Michael Hofstetter's installation at the Kunstbureau Freilassing . In: Salzburger Nachrichten . March 18, 1994.
  18. ↑ ORAM LITTORIS PRIMI LEGO , Büro Orange, Siemens, Munich , accessed on August 11, 2018
  19. ^ Elisabeth Müller: Eternal questioning of reality. A gallery walk to installations and works by Hofstetter, Damnitz and Porznder . In: evening newspaper . Munich April 15, 1990, p. 7 .
  20. ↑ Karl Borromäus Murr and Tanja Kreutzer (eds.): Amish Quilts Meet Modern Art . Deutscher Kunstverlag, Berlin 2020, ISBN 978-3-422-98279-6 , p. 216 .
  21. ↑ Utopia Passion. In: Art Association in the Neuzelle Monastery. 2019, accessed on May 16, 2020 (German, English).
  22. ↑ Rhythm Section, IV Odessa Biennale of Contemporary Art , Museum of Odessa Modern Art, Odessa, accessed on August 11, 2018
  23. ↑ Press kit , State Textile and Industry Museum Augsburg, accessed on August 11, 2018
  24. ^ Daily Memories. In: Archive. Kunstmuseum Kloster Unser Lieben Frauen Magdeburg, accessed on October 5, 2018 .
  25. ↑ Michael Hofstetter. In: Vanity Flair - luxury and transience. 2013, accessed October 5, 2018 .
  26. ^ Birkenau Art Hostel. Retrieved May 16, 2020 .
  27. ↑ drawing today. The New Drawing. Galerie Royal, 2009, accessed 10 May 2018 .
  28. ↑ From walking in many directions. KIT - Kunst im Tunnel, 2008, accessed on October 5, 2018 .
  29. ↑ URBAN CAMERA , Dominican Monastery of St. Albertus Magnus, accessed on August 11, 2018
  30. ↑ Evelyn Vogel: Susanna in a blood bath. Art students open “Notel Prinzregent”. In: Süddeutsche Zeitung. June 3, 2016, accessed August 8, 2018 .
  31. ↑ Scholarship holders born in 1996 - fine arts. In: Scholarship archive prior to 2013. Kunststiftung Baden-Württemberg, 1996, accessed on October 5, 2018 .
  32. ^ Gallery of Artists: Gallery of Artists 1977–2014. (PDF) (No longer available online.) Berufsverband Bildender Künstler München und Obb. E. V., 2015, archived from the original on August 11, 2018 ; accessed on August 5, 2018 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.bbk-muc-obb.de
  33. ↑ 1st German Photo Prize '89 . edition cantz, Stuttgart 1989, ISBN 3-89322-139-5 .
  34. ^ Johannes Kirschenmann and Florian Matzner (eds.): The Allianz Art Collection - A journey of discovery through Germany . Allianz Deutschland AG / Allianz SE, Munich 2015, ISBN 978-3-945317-12-9 , pp. 38 .
  35. ↑ ALTANA Cultural Foundation: Hofstetter, Michael. In: ALTANA Cultural Foundation. Foundation Nantesbuch gGmbH, accessed on July 29, 2018 .
  36. ↑ OFF SPACES: STATION FOE 156 in Munich , archive version of the April 13, 2012
  37. ↑ Sabine Reithmayer: What is created is worth it to perish. Süddeutsche Zeitung, March 13, 2020, accessed on May 16, 2020 .
personal data
SURNAME Hofstetter, Michael
BRIEF DESCRIPTION German artist
DATE OF BIRTH February 10, 1961
PLACE OF BIRTH Stuttgart