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63-538: The London Noses or Seven Noses of Soho are an artistic installation found on buildings in London . They are plaster of Paris reproductions of the artist's nose which protrude from walls in an incongruous and unexpected way. They were created by artist Rick Buckley in 1997. Initially, about 35 were attached to buildings such as the National Gallery and Tate Britain but by 2011 only about 10 survived. The artist

126-442: A broad range of everyday and natural materials, which are often chosen for their " evocative " qualities, as well as new media such as video , sound , performance , immersive virtual reality and the internet . Many installations are site-specific in that they are designed to exist only in the space for which they were created, appealing to qualities evident in a three-dimensional immersive medium. Artistic collectives such as

189-469: A genre during the 1990s, when artists became particularly interested in using the participation of the audiences to activate and reveal the meaning of the installation. With the improvement of technology over the years, artists are more able to explore outside of the boundaries that were never able to be explored by artists in the past. The media used are more experimental and bold; they are also usually cross media and may involve sensors, which plays on

252-593: A joint project with a sculpture from each other in their museums. Vostell was the first artist to integrate a television set into a work of art. This installation was created in 1958 under the title The black room and is now part of the collection of the art museum Berlinische Galerie in Berlin. Early works with television sets are Transmigracion I-III from 1958 and Elektronischer Dé-coll/age Happening Raum ( Electronic Dé-coll/age Happening Room ) an Installation from 1968. In 1974, his first major retrospective took place in

315-663: A permanent exhibition. In 1990, Vostell's triptych 9 November 1989 and design drawings for it were exhibited for the first time in the eastern part of Berlin in the gallery at Weidendamm in Friedrichstraße 103. In 1992 the city of Cologne honoured Vostell with a retrospective of his work. His works were exhibited at six venues: the Cologne City Museum, the Kunsthalle Köln, the Rheinische Landesmuseum Bonn,

378-633: A pioneer of video art with the installation 6 TV Dé-coll/age in the collection of the Museo Reina Sofía Madrid and with the video Sun in your head. In 1965 he took part in the 24-hour happening at the Galerie Parnass in Wuppertal. In 1967 he dealt with the Vietnam War in the happening Miss Vietnam. In 1968, in collaboration with the composer Mauricio Kagel and others, he founded Labor e.V., which

441-455: A series of paintings and drawings in his Spanish studio, which show the theme Tauromaquia. Large-format canvases show bulls, mostly bleeding and torn to shreds. He made assemblages in which he combined painted bull heads with light bulbs, car parts or other objects. From the early 1960s on Vostell worked with concrete, which became a kind of distinctive feature of his works. He created sculptures, like his car-concrete sculptures. He also processed

504-601: Is in the Street , took place in Paris in 1958, and incorporated auto parts and a TV. Impressed by the work of Karlheinz Stockhausen , which he encountered in the electronic studios of the German radio station WDR , he created his electronic TV Dé-coll/age in 1959. This marked the beginning of his dedication to the Fluxus Movement, which he co-founded in 1962. During this period, Vostell

567-484: The Exhibition Lab at New York's American Museum of Natural History created environments to showcase the natural world in as realistic a medium as possible. Likewise, Walt Disney Imagineering employed a similar philosophy when designing the multiple immersive spaces for Disneyland in 1955. Since its acceptance as a separate discipline, a number of institutions focusing on Installation art were created. These included

630-705: The Fluxus movement and the work of both artists involved a critique of the fetishization of television and the culture of consumption. The catalogue raisonné of his screen prints and posters has been published in the Nouvelles de l'estampe by Françoise Woimant and Anne Moeglin-Delcroix in 1982. In 1992, the town of Cologne honoured Vostell with a major retrospective of his work. His pieces were distributed over 6 exhibition venues: Stadtmuseum Köln, Kunsthalle Köln, Rheinisches Landesmuseum Bonn, Kunsthalle Mannheim, Schloss Morsbroich Leverkusen and Städtisches Museum Mülheim / Ruhr. Under

693-612: The Mattress Factory , Pittsburgh, the Museum of Installation in London, and the Fairy Doors of Ann Arbor, MI , among others. Installation art came to prominence in the 1970s but its roots can be identified in earlier artists such as Marcel Duchamp and his use of the readymade and Kurt Schwitters ' Merz art objects, rather than more traditional craft based sculpture . The "intention" of

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756-574: The Smolin Gallery in New York. Installation as nomenclature for a specific form of art came into use fairly recently; its first use as documented by the Oxford English Dictionary was in 1969. It was coined in this context, in reference to a form of art that had arguably existed since prehistory but was not regarded as a discrete category until the mid-twentieth century. Allan Kaprow used

819-400: The simulacrum or flawed statue : it neglects any ideal form in favor of optimizing its direct appearance to the observer. Installation art operates fully within the realm of sensory perception, in a sense "installing" the viewer into an artificial system with an appeal to his subjective perception as its ultimate goal. An interactive installation frequently involves the audience acting on

882-552: The 1950s Wolf Vostell has thematized the Holocaust in numerous works. Wolf Vostell did not want to express with his outward appearance that he was Jewish by his appearance he rather carried his values to the outside world and thus directed himself unambiguously against the danger of suppressing or even forgetting the extermination of European Jews by the German National Socialists. With his temple curls, fur hat and caftan, he

945-497: The 1950s on. As early as 1958 he thematized the Second World War and the Holocaust in the installation Das schwarze Zimmer (The Black Room). The Korean War and the Vietnam War became themes of his works, as they did with his 1968 blurred Miss America. The assassination of John F. Kennedy and other international political events were the subject of his paintings and assemblages. Vostell also thematized domestic political topics of

1008-645: The 1960s Vostell worked with the technique of blurring. With a mixture of turpentine and carbon tetrachloride, photographs in magazines can be blurred. The cycle Kleenex from 1962, Kennedy before Corham from 1964, Goethe Today from 1967 and Homage to Henry Ford and Jaqueline Kennedy from 1967 are examples of Wolf Vostell's blurred images. He combined dé-coll/age with blurring like in Jayne Mansfield from 1968 and Marilyn Monroe from 1962 or Hours of fun from 1968. Vostell dealt with world political events in his artistic work from

1071-593: The 1980s, he proposed a joint project with Salvador Dalí whom he met in 1978. This was realized as one of Dalí's last projects in 1988, shortly before his death. Vostell carried out a work of Dalí, which Dalí had already conceived in the 1920s. El fin de Parzival (the end of the Parzival) consists of 20 motorcycles of the Guardia Civil from the time of the Franco regime, five of which are fastened on top of each other and backed by

1134-474: The 1990s, Vostell's private library has been part of the archive. His work is documented photographically and is also part of the archive, which has been housed in the "Museo Vostell Malpartida" since 2006. Vostell initiated further happenings, among others 9-Nein-dé-coll/agen in Wuppertal in 1963, the Happening You in New York in 1964 and others in Berlin, Cologne, Wuppertal and Ulm. In 1963 Wolf Vostell became

1197-677: The ARC 2 at the Musée d'Art Moderne de la Ville de Paris , an expanded version of which was shown at the Neue Nationalgalerie , in 1974. Wolf Vostell's automobile-concrete-sculptures made from cars and concrete are to be found in Cologne Ruhender Verkehr ( Stationary traffic ) from 1969, Concrete Traffic from 1970 in Chicago, VOAEX ( Viaje de (H)ormigón por la Alta Extremadura ) from 1976 in

1260-707: The Archive. Wolf Vostell's extensive oeuvre is documented in photographic form and makes up part of the archive. About 50000 documents from four decades make the Vostell Archive a treasure of art history. Since 2005 the archive has been housed in the Museo Vostell Malpartida and is available to art historians, journalists and scholars. In 1989 the Art'otel Berlin Kudamm opened, which Wolf Vostell has as its theme and thus became

1323-585: The Federal Republic. The student revolts, the economic miracle and the criticism of capitalism are documented in his works. The Cold War and the Bosnian War are present in his works. Wolf Vostell documented and processed the fall of the Berlin Wall in more than 50 works. From the 6 meter wide triptych 9 November 1989 to smaller works, Vostell created a further cycle of works after the fall of the Berlin Wall. Over

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1386-850: The Kunsthalle Mannheim, the Schloss Morsbroich in Leverkusen and the Kunstmuseum Mülheim an der Ruhr. Under the artistic direction of David Vostell, the documentary film Vostell 60 - Retrospective 92 was produced about this retrospective. Since 1989, the 1969 car-concrete sculpture Resting Traffic, for which Vostell cast an Opel Kapitän in concrete, has stood on the central reservation of the Hohenzollernring in Cologne. Other car-concrete sculptures are Concrete Traffic from 1970 in Chicago, in

1449-865: The Museo Vostell Malpartida V.O.A.E.X. from 1976 and Two Concrete Cadillacs in the shape of the naked Maja in Berlin from 1987. Further works are to be found in the Center for Art and Media Technology, the Haus der Geschichte der Bundesrepublik Deutschland, the Germanisches Nationalmuseum, the Rheinisches Landesmuseum Bonn, the Museo Reina Sofia, the Musée d'art moderne de la Ville de Paris, the Musée d'Art Moderne et Contemporain de Strasbourg,

1512-622: The Museo Vostell Malpartida in Malpartida de Cáceres , Spain and Zwei Beton-Cadillacs in Form der nackten Maja ( Two Concrete Cadillacs in form of the Naked Maja ) from 1987 in Berlin. Vostell also gained recognition for his drawings and objects, such as images of American B-52 bombers, published under the rubric " capitalist realism " and as a result of his inclusion of television sets with his paintings. Nam June Paik and Vostell were both participants in

1575-673: The Parisian École nationale supérieure des beaux-arts and in 1957 the Düsseldorf Art Academy. Vostell's Happening Das Theater ist auf der Straße from 1958 in Paris was the first happening in Europe. His happening Cityrama of 1961 in Cologne was the first happening in Germany. Vostell produced objects with televisions and car parts. Influenced by the work of Karlheinz Stockhausen in the electronic studio of

1638-583: The TV sets. In Berlin, he created large-format paintings such as the Triptych Berlin from 1990, the cycle Weinende from 1992 and Weinende Hommage an Anne Frank. Bronze sculptures like Berlinerin from 1994 in a small edition. Graphic works, sculptures and assemblages such as Arc de Triomphe N°1 from 1993, Ritz from 1998 and multiples such as Berliner Brot from 1995. During a stay in Paris in September 1954, Vostell read

1701-403: The TV, the same model that the public has at home, and I defamiliarize it, and this is conceivably shocking... The real disturbance is that their well-known objects, their spoon, their lipstick, their status symbols, their cars are used, and therein lies the content... It is (art)work with familiar objects that causes such disturbances in thinking, in consciousness." In the 1960s, Vostell founded

1764-448: The Vostell Archive. With great fervour and strict consistency, Wolf Vostell collected photographs, artistic texts, private correspondence with colleagues such as Nam June Paik , Allan Kaprow , Dick Higgins and many others, as well as press cuttings, invitations to exhibitions and events or books and catalogues which document wolf Vostell's work and that of his contemporaries. His private library with more than 6000 books has formed part of

1827-588: The WDR, electronic TV-Dé-coll/agen were produced in 1959. This marked the beginning of his involvement in the Fluxus movement, which he co-founded in 1962. In 1959 Vostell founded the Vostell-archive. Wolf Vostell collected photographs, artistic texts, personal correspondence with companions like Nam June Paik, Joseph Beuys, Dick Higgins, as well as other objects, which documented the work of the artists of his generation. Since

1890-824: The arch. Another story told of the Seven Noses of Soho which would give great fortune to those who found them all. The noses are said to be located at Admiralty Arch , Great Windmill Street , Meard Street , Bateman Street , Dean Street , Endell Street and D'Arblay Street in Central London. This article about a sculpture in the United Kingdom is a stub . You can help Misplaced Pages by expanding it . Installation art Installation art can be either temporary or permanent. Installation artworks have been constructed in exhibition spaces such as museums and galleries, as well as public and private spaces. The genre incorporates

1953-534: The artist is paramount in much later installation art whose roots lie in the conceptual art of the 1960s. This again is a departure from traditional sculpture which places its focus on form . Early non-Western installation art includes events staged by the Gutai group in Japan starting in 1954, which influenced American installation pioneers like Allan Kaprow . Wolf Vostell shows his installation 6 TV Dé-coll/age in 1963 at

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2016-678: The artistic direction of David Vostell , the documentary Vostell 60 - Rückblick 92 ( Vostell 60 - Review 92 ) was created. Vostell's grave is at the Cementerio Civil de la Almudena in Madrid . From 1950 on, Vostell implemented his first artistic ideas, in 1953 he began an apprenticeship as a lithographer and attended the Werkkunstschule at the Bergische Universität with Ernst Oberhoff in Wuppertal. On 6 September 1954 in Paris, he found

2079-708: The book "Themes in Contemporary Art", it is suggested that "installations in the 1980s and 1990s were increasingly characterized by networks of operations involving the interaction among complex architectural settings, environmental sites and extensive use of everyday objects in ordinary contexts. With the advent of video in 1965, a concurrent strand of installation evolved through the use of new and ever-changing technologies, and what had been simple video installations expanded to include complex interactive, multimedia and virtual reality environments". In "Art and Objecthood", Michael Fried derisively labels art that acknowledges

2142-477: The canvas. In his concrete car sculptures, such as Ruhender Verkehr / Stationary Traffic (1969) and Concrete Traffic (1970), Vostell foregrounded these art objects' relationship to the everyday. For Vostell, it was important that these concrete car sculptures be placed an urban setting among other, operational cars. Vostell spoke about de-familiarization provoked by unusual modes of encountering everyday objects: "I show that there are different realities...I take

2205-753: The collections of the Museo Reina Sofía in Madrid. The Smolin Gallery sponsored two innovative Wolf Vostell events on TV; the first, Wolf Vostell and Television Decollage , featured visitors to the gallery who were encouraged to create poster art on the walls. In 1967 his Happening Miss Vietnam dealt with the subject of the Vietnam war. In 1968, he founded Labor e.V., a group that was to investigate acoustic and visual events, together with Mauricio Kagel , and others. In 1978 he met Salvador Dalí , with whom he would later create

2268-488: The concrete liquid as a color for his paintings and drawings. He also painted with liquid concrete, acrylic paint and charcoal. In his paintings and drawings you can see many times drawn concrete blocks. Human bodies can often be recognized as angular concrete forms. In the 1980s and 1990s he worked with liquid lead. He poured liquid lead over his canvases, combining acrylic paint, liquid lead and liquid concrete. Wolf Vostell also worked with gold leaf, which he applied directly to

2331-409: The curious and eager viewer, still aware that they are in an exhibition setting and tentatively exploring the novel universe of the installation. The artist and critic Ilya Kabakov mentions this essential phenomenon in the introduction to his lectures "On the "Total" Installation": "[One] is simultaneously both a 'victim' and a viewer, who on the one hand surveys and evaluates the installation, and on

2394-521: The decades a political work was created in Vostell's work. Beginning in 1958 Vostell integrated television sets into his works. Pictures, assemblages, installations and sculptures by Wolf Vostell are often designed with TV sets. Most of the time the sets are set to normal program. Thus Wolf Vostell incorporates topicality and current events into his works. From 1976 Vostell travelled regularly between Berlin and Malpartida de Cáceres. During this time he created

2457-787: The installation Das schwarze Zimmer (The Black Room), which is installed in a dark room with black painted walls, in the Galerie Parnass. In 1964 Vostell initiated the Happening In Ulm, around Ulm and around Ulm - in the same year he had his first exhibition participation in the 13th exhibition of the Deutscher Künstlerbund in Berlin. In 1965 the Happenings Berlin 100 Ereignisse and 1967 Miss Vietnam followed. He often took up political and social themes. Between 1965 and 1969, exhibitions, happenings, multiples and publications were created in collaboration with René Block. In 1968 he created

2520-435: The line between "art" and "life"; Kaprow noted that "if we bypass 'art' and take nature itself as a model or point of departure, we may be able to devise a different kind of art... out of the sensory stuff of ordinary life". The conscious act of artistically addressing all the senses with regard to a total experience made a resounding debut in 1849 when Richard Wagner conceived of a Gesamtkunstwerk , or an operatic work for

2583-530: The music of Richard Wagner's opera Parzival. Initially, Dalí intended to use bicycles. This addition was made by Vostell. In return, Wolf Vostell installed 1988 the sculpture TV-Obelisk (1979) in the Teatre-Museu in Figueres with 14 TV sets and Dalí completed the sculpture with a woman's head on the top, which he created. Inside the woman's head is a video camera that records images of the sky, which are transmitted to

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2646-456: The new environment. What is common to nearly all installation art is a consideration of the experience in toto and the problems it may present, namely the constant conflict between disinterested criticism and sympathetic involvement. Television and video offer somewhat immersive experiences, but their unrelenting control over the rhythm of passing time and the arrangement of images precludes an intimately personal viewing experience. Ultimately,

2709-415: The only things a viewer can be assured of when experiencing the work are his own thoughts and preconceptions and the basic rules of space and time. All else may be molded by the artist's hands. The central importance of the subjective point of view when experiencing installation art, points toward a disregard for traditional Platonic image theory. In effect, the entire installation adopts the character of

2772-442: The other, follows those associations, recollections which arise in him[;] he is overcome by the intense atmosphere of the total illusion". Here installation art bestows an unprecedented importance on the observer's inclusion in that which he observes. The expectations and social habits that the viewer brings with him into the space of the installation will remain with him as he enters, to be either applied or negated once he has taken in

2835-582: The paintings in the Extremadura cycle, the 1976 cycle El muerto que tiene sed (The Thirsty Dead Man) or 1985 El entierro de la Sardina (The Burial of the Sardine). In the 1980s he created the installation The Winds, the painting The Battle of Anghiari from 1982, a reminiscence of Leonardo da Vinci's painting of the same name Battle of Anghiari, the cycle Milonga from 1985, and the Tauromaqie with BMW part from 1988. In

2898-473: The reaction to the audiences' movement when looking at the installations. By using virtual reality as a medium, immersive virtual reality art is probably the most deeply interactive form of art. By allowing the spectator to "visit" the representation, the artist creates "situations to live" vs "spectacle to watch". Contemporary installation organizations and museums Installation art Wolf Vostell Wolf Vostell (14 October 1932 – 3 April 1998)

2961-457: The same year. In 1973 he created the cycle Mania. 40 works in which Vostell drew on photographs from magazines and glued objects onto the photographs. In 1973 he created the installations Auto Fieber und Energie. 1976 Vostell founded the Museo Vostell Malpartida in Malpartida de Cáceres. In 1974 he realized the happening Strawberries in Berlin. From 1975 onwards, he worked on Spanish themes such as

3024-447: The silkscreen B-52 - instead of bombs. In 1969 - in cooperation with the gallery art intermedia of Helmut Rywelski in Cologne - Vostell created his first car-concrete sculpture Ruhender Verkehr (resting traffic). In January 1970, the Museum of Contemporary Art of Chicago sponsored a happening in which Vostell encased a 1957 Cadillac in concrete at a parking lot near the museum, creating

3087-401: The stage that drew inspiration from ancient Greek theater in its inclusion of all the major art forms: painting , writing , music , etc. (Britannica). In devising operatic works to commandeer the audience's senses, Wagner left nothing unobserved: architecture , ambience, and even the audience itself were considered and manipulated in order to achieve a state of total artistic immersion. In

3150-461: The term "Environment" in 1958 (Kaprow 6) to describe his transformed indoor spaces; this later joined such terms as "project art" and "temporary art." Essentially, installation/environmental art takes into account a broader sensory experience, rather than floating framed points of focus on a "neutral" wall or displaying isolated objects (literally) on a pedestal. This may leave space and time as its only dimensional constants, implying dissolution of

3213-436: The viewer as " theatrical " (Fried 45). There is a strong parallel between installation and theater: both play to a viewer who is expected to be at once immersed in the sensory / narrative experience that surrounds him and maintain a degree of self-identity as a viewer. The traditional theater-goer does not forget that they have come in from outside to sit and take in a created experience; a trademark of installation art has been

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3276-540: The watercolors The Couple, Family, Airplane and War Crucifixion. In 1955, he drew a cycle of ink drawings on Peter Schlemihl's miraculous story. In 1962 Vostell participated in the Fluxus manifestation Fluxus: International Festival of Contemporary Music in Wiesbaden and in 1963 in the Fluxus festival Festum Fluxorum Fluxus in Düsseldorf. In 1962 he founded the journal Dé-coll/age - Bulletin of Current Ideas. In 1963 he showed

3339-541: The word Décollage in a headline of Le Figaro (German translation: "Untie, loose the glued, separate"). Vostell changed the spelling for himself. From 1954 on he named his poster tear-offs Dé-coll/age. Later he transferred the term Dé-coll/age to his happenings. For Wolf Vostell the Dé-coll/age became a design principle and a comprehensive concept of art. Ceres from 1960, Coca-Cola, your candidate, Great Session with Da (all pictures from 1961), Wochenspiegel Beatles and Livio from 1966 are examples of Wolf Vostell's Dé-coll/agen. In

3402-425: The word décollage (i.e. to lift off, loosen, loosen the glued, separate) on the title page of Le Figaro, which was used in connection with the crash of a Lockheed Super Constellation into the Shannon. Vostell changed the spelling to Dé-coll/age and applied the term to his poster tear-offs and happenings. For Wolf Vostell, Dé-coll/age became a design principle and a comprehensive concept of art. In 1955/1956 he attended

3465-409: The work Concrete Traffic (1970). The work was moved via highway to the University of Chicago campus in 1970, where it remained for nearly four decades. The work was restored and moved to the University of Chicago campus in 2016. In 1970 Vostell moved to Berlin. In 1970 he created Heuschrecken, an installation with 20 monitors and a video camera. The installations TV-Schuhe and TEK were created in

3528-485: The work of art or the piece responding to users' activity. There are several kinds of interactive installations that artists produce, these include web -based installations (e.g., Telegarden ), gallery -based installations, digital -based installations, electronic -based installations, mobile -based installations, etc. Interactive installations appeared mostly at end of the 1980s ( Legible City by Jeffrey Shaw , La plume by Edmond Couchot , Michel Bret...) and became

3591-445: Was a German painter and sculptor, considered one of the early adopters of video art and installation art and pioneer of Happenings and Fluxus . Techniques such as blurring and Dé-coll/age are characteristic of his work, as is embedding objects in concrete and the use of television sets in his works. Wolf Vostell was married to the Spanish writer Mercedes Vostell and has two sons, David Vostell and Rafael Vostell. Wolf Vostell

3654-584: Was a perfect match for the image of the enemy that the propaganda of the Hitler regime had painted as an anti-Semitic stereotype, following the example of the Eastern European Jews. He exaggerated this image by using other attributes, such as ostentatious rings on his fingers and an equally thick cigar, which in slanderous caricatures from the Nazi era had been symbolically given to the "money-greedy Jewish usurer". In 1953, he initially produced traditionally produced works such as Korea and Korea Massacre (both oil on paper), War Crucifixion II (oil on canvas) as well as

3717-412: Was behind many Happenings in New York, Berlin, Cologne, Wuppertal and Ulm among others. In 1962 he participated in the FLUXUS Internationale Festspiele Neuester Musik event in Wiesbaden together with Nam June Paik , George Maciunas and other artists. In 1963 Wolf Vostell became a pioneer of Video art and Installation with his work 6-TV-Dé-coll/age shown at the Smolin Gallery in New York, now in

3780-416: Was born in Leverkusen , Germany, and put his artistic ideas into practice from 1950 onwards. In 1953, he began an apprenticeship as a lithographer and studied at the Academy of Applied Art in Wuppertal . Vostell created his first Dé-coll/age in 1954. In 1955–1956, he studied at the École Nationale Superieur des Beaux Arts in Paris and in 1957 he attended the Düsseldorf Academy of Arts . Vostell's philosophy

3843-462: Was built around the idea that destruction is all around us and it runs through all of the twentieth century. He used the term Dé-coll/age , (in connection with a plane crash) in 1954 to refer to the process of tearing down posters, and for the use of mobile fragments of reality. For Vostell, Dé-coll/age is a visual force that breaks down outworn values and replaces them with thinking as a function distanced from media. His first Happening , The Theater

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3906-487: Was provoked by the controversial introduction of CCTV cameras throughout London and, inspired by the Situationists , installed the noses under the noses of the cameras. The prank was not publicised and so urban myths grew up to explain the appearance of the noses. For example, the nose inside the Admiralty Arch was said to have been created to mock Napoleon and that the nose would be tweaked by cavalry troopers from nearby Horse Guards Parade when they passed through

3969-482: Was to research acoustic and visual events. Vostell is regarded as the first artist who integrated a television set into a work of art. This environment from 1958, consisting of three assemblages, entitled Das schwarze Zimmer (German View, Auschwitz Spotlight 568, Treblinka) is part of the collection of the Berlinische Galerie. Early works with televisions are Transmigracion I to III, from 1958, and Elektronischer dé-coll/age Happening Raum, an installation from 1968. Since

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