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NO!art
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MIRON ZOWNIR, born 1953 in Karlsruhe/Germany, moved to Berlin in 1974 and then went to USA in 1980, where he spent 15 years in New York, Los Angeles and Pittsburgh as a freelance photographer, scriptwriter and filmmaker directing more than ten short films. During his time in America he collaborated among others with Alexandre Rockwell "In the soup, 4 Rooms", Ryu Murakami "Tokyo Decadence, Almost transparent Blue". He returned to Berlin in 1995 after a 3 month stay in Moscow and St. Petersburg documenting the rapid and brutal decline of the former Soviet Union. His recent publication is his first novel "Kein schlichter Abgang — Not an easy way out". Lives in Berlin.
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2021 ROMANIA RAW | Goethe Institut INSTITUT, Bucharest
Boderline Art Space & German Cultural Center Iași | Iasi, Romania
2020 Art Museum | Cluj-Napoka
EUROPEAN MONTH OF PHOTOGRAPHY | Bildband, Berlin
2019 Galerie Bene Taschen | Cologne
PAVLOV'S DOG | Berlin
2018 EUROPEAN MONTH OF PHOTOGRAPHY | Brotfabrik Galerie, Berlin
2017 ART PHOTO BUDAPEST | Galerie Koppelmann, Budapest
Interzone Galleria | Rome
ART BERLIN | Galerie Bene Taschen, Berlin
Hardhitta Gallery | Cologne
2016 Hof 5 | Zurich
FOTOGRAFIE | Deichtorhallen, Hamburg
2014 DOWN AND OUT IN MOSKAU | Photo book, Gallery Surgo, Berlin
2013 YOUR DAILY DARKNESS | Galerie neurotitan, Berlin
OFFENE WUNDEN | K'-Zentrum Aktuelle Kunst, Bremen
2010 PHOTOGRAPHS | Gallery Knoth & Krüger, Berlin
PHANTOMANIE | Cinema Premiere, Babylon-Mitte, Berlin
2009 PHANTOMANIE | Film premiere, Tresor-Club, Berlin
2008 DARKSIDE | Fotomuseum, Winterthur/Switzerland
PHOTOGRAPHY WITH DEPTH EFFECTS | Mousontower, Frankfurt
RADICAL EYE | Emmanuel Post Gallery, Leipzig
MOLLUSK KOLLEKTIV | Bongout Showroom, Berlin
ARE YOU CLOSE ENOUGH? | Gallery West, Den Haag
2007 RADICAL EYE - SHOW | The Horse Hospital, London
RADICAL EYE - SHOW | slaginc, London
RADICAL MAN | Documentary by M.A. Littler about Miron Zownir
2006 SLOWBOAT FILMS | Interview with the producer M.A. Littler
2005 RADICAL EYE | Gallery Knoth'n Krüger, Berlin
RADICAL EYE | Gallery Reimann-Lebegue, Düsseldorf
2003 NO!-ON SHOW | Gallery Berliner Kunstprojekt, Berlin
NO!art involved artists: ARMENTO + ARONOVICI + BAJ + BARATELLA + BECHER + BROWN + BRUNET + BRUS + CHORBADZHIEV + D'ARCANGELO + DAYEN + DE RUVO + EHM-MARKS + ERRO + FABRICIUS + FISHER + GATEWOOD + GEORGES + GERZ + GILLESPIE + GILMAN + GOLDMAN + GOLUB + GOODMAN + HALLMANN + HASS + HJULER + KAPROW + KIRVES + KUSAMA + KUZMINSKY + LEBEL + LEVITT + LONG + LST + LURIE + MASTRANGELO + MEAD + MESECK + PATTERSON + PICARD + PINCHEVSKY + RAMSAUER + RANCILLAC + ROUSSEL + SALLES + SALMON + SCHEIBNER + SCHLEINSTEIN + STAHLBERG + STUART + TAMBELLINI + TOBOCMAN + TOCHE + TSUCHIYA + VOSTELL + WALL + WOLF + WOYTASIK + ZOWNIR
NO!art has continued way beyond 1964 and also prior to 1958. The "cutting-off" date 1964, as espoused by the art historian is entirely artificial. Such cutting-off dates are common to art historians, done for cataloguing purposes, and what is more, for accreditation of monetary value in the art market. The cutting-off dates also have a devastating effect on the production of artists, who are, by those means, being convinced that what they produce after a cutting-off date is secondary in importance, and do not belong any longer to the "new times". Yet the art market hated it, for practical reasons of creating confusion about monetary value. That is the main and real reason for art historians and critics insisting on this untrue measure. - Boris Lurie, 2003.
