Verena Nusz

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Verena Nusz (* 2. May 1949 in Tauka , Austria ; † 25. April 1997 in Cologne ) was an Austrian painter and graphic artist whose works of conceptual art (in English: " conceptual art " ) are attributed. 

Life

Verena Nusz first traveled to the United States at the age of 19 . After visiting several cities on the east coast, she settled in New York for nine months . There she met the artist Joseph Kosuth and other members of the conceptual art movement ( Terry Atkinson , David Bainbridge , Michael Baldwin , Harold Hurrell , Ian Burn , Mel Ramsden , Philip Pilkington , David Ruston ). These meetings had a decisive influence on her artistic development and her research.

In 1969 Verena Nusz returned to Europe, where she enrolled in the graphic design course at the Academy of Fine Arts in Munich. At that time she had a close friendship with the Japanese painter and engraver Yoshi Takahashi , whose graduation from the Munich Academy was not long ago (1969). After completing his studies, Takahashi commuted between Munich and Paris , where he also had his own studio. Verena Nusz visited him there regularly and got to know the French language and culture.

In 1969 Nusz also took part in joint exhibitions with other artists for the first time.

1972 was one of the most productive years of her career. Verena Nusz designed 38 signs for an exhibition in Berlin . Having devoted herself entirely to the Art & Language movement that had existed since 1968, she viewed creation as a kind of permanent research into terms and concepts. In her sign series, these considerations gave way to words of color. This approach to art was not only aesthetic but also logical, almost mathematical.

Verena Nusz saw herself, following Joseph Kosuth, as a concept artist. Her ideas came to life as works of art, the artist kept reinventing the concept of art. In 1973 Verena Nusz took part in the joint exhibition Encrayonnements 4 at the Maya Gallery in Brussels, alongside Henri Michaux , Christian Dotremont , Philippe Geluck and Jacques Courtens .

In 1978 Nusz became a citizen of Kugelmugel , a micronation founded in 1976 by an artist group in Lower Austria , which later moved to Vienna .

Many more exhibitions followed in 1978 and 1979. Verena Nusz was issued in many European countries, especially in the Netherlands, where she appeared in the De Ruick Galerij in Amsterdam exhibits the works of their " Movement " - period are allocated ( " movement " - English for " movement ") . The exhibition entitled Kunst, taal en Bewegungs ( Art, Language and Movement ) also showed works by artists such as Cor Jaring , Serge Vandercam and Ger van Elk .

In 1985 Verena Nusz ended her artistic career. With this she put an end to her work, which she considered complete.

In 1992 she undertook one last artistic act and became a citizen of New Slovenian Art , often abbreviated as NSK.

Verena Nusz died in a car accident in Cologne in 1997 at the age of 48.

The artistic approach

During her early days (1968) Verena Nusz felt part of the "Art & Language" movement founded by Michael Baldwin, Terry Atkinson, David Bainbridge and Harold Hurrell. From 1968 to 1982 more than fifty artists were to feed this movement with many different ideas and creations.

Art and language

Inspired by the increasing success of this new approach to the relationship between art and words, Verena Nusz saw this trend as the only right path for conceptual art. Without reservation she defended the principle that art can only come into its own through language , because language is the source of all ideas.

Word Variation N ° 1 by Verena Nusz

More generally, human history develops out of language, which in turn changes itself through the world that gave birth to it.

According to this theory, some concepts develop a life of their own, overtake others and influence the world that created them.

According to Nusz, this basic idea applies equally to art.

The concept of art is constantly evolving, through other concepts that define art. These in turn would then be influenced by the concept of art itself. In summary, one can say that Verena Nusz placed self-analysis at the center of her creative work.

By trying to define their own art in terms, an artist creates a true artistic dimension. At the same time he defines the concept of art itself. Art and language are inextricably linked and feed each other every time a new work of art is created. Each new work of art represents a new definition of the art concept.

The aesthetics

Verena Nusz pursued art with the aim of creating meaning - which should defy all aesthetic intentions. The aesthetic dimension can therefore only be derived from the meaning that manifests itself at the moment of the creative act.

The logical and mathematical dimension

With the basic idea that the concept of art is redefined by each new work of art, Verena Nusz emphasized the logical and mathematical aspects that support the artistic act in its entirety. According to this theory, any new definition of art is absolute. The work of art thus arises from a tautology and had no weak point, because it is what it is. The work of art is art.

Exhibitions

  • 1972: Galerie Schmetterling (Munich),
  • Golden Gallery (Berlin), 1973
  • Galerie Hurrikan (Munich), 1973
  • Maya Gallery (Brussels), Encrayonnements 4, March 29 to April 28, 1973
  • Galerie Dix (Stuttgart), 1974
  • Galerie Gussow (Trier), 1975
  • Galerie La Clé (Luxembourg), 1975
  • The Key Gallery (Mannheim), 1977
  • Bellero Gallery (Milan), 1977
  • Galerie Franz (Vienna), 1978
  • De Ruick Galerij (Amsterdam), Art, taal en Bewegungsing, September 13th to October 14th, 1979
  • Gallery exhibitions (Trier), 1979
  • Kassel Gallery (Kassel), 1980
  • Gallery The Public (Berlin), 1981
  • Gallery curtain (Berlin), 1982
  • Gallery Exaggeration (Munich), 1983
  • Coe Gallery (London), 1983
  • Gallery Sitz (Berlin), 1984

Publications

  • Conceptual Art, in other words (et al.), Universitätsdruck München, 1982
  • Kunst, taal en Bewegungsing (et al.), Tentoonstellingscatalogus, De Ruick Galerij, 1979

Web links

Individual evidence

  1. ^ A b Franz Brusen, Friedrich Nordbewohner, Verena Nusz, Jörg von Vostell: Conceptual Art, in other words . Universitätsdruck München, Munich 1982.
  2. ↑ a b c d verena-nusz. Retrieved February 7, 2011 .
  3. ↑ Aanwezig (Ed.): Art, taal en Bewegungs . Amsterdam 1979.
  4. ↑ Pierre-Yves Desaive: Art & Language: Mises en boîte . Ed .: Flux News Magazine. Belgium 1996.
  5. ↑ Cor Jaring, Verena Nusz, Serge Vandercam, Ger van Elk: Art, beweging en taal . Ed .: De Ruick Galerij. Amsterdam 1979.
  6. ↑ fg concept art. Retrieved November 15, 2011 .
personal data
SURNAME Nusz, Verena
BRIEF DESCRIPTION Austrian painter and graphic artist
DATE OF BIRTH May 2, 1949
PLACE OF BIRTH Tauka , Austria
DATE OF DEATH April 25, 1997
Place of death Cologne