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Jess Johnson: Worlds Within Worlds Ocula Conversation Jess Johnson: Worlds Within Worlds

Geometric patterns, anthropomorphic characters, architectural spatial environments, and relics of the ancient world appear throughout Jess Johnson's artworks.Johnson's solo art-ventures began in drawing, but her long-term collaborative relationship with animator Simon Ward brings her drawings to life in videos and virtual reality. The animator has...

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Melati Suryodarmo: Performance Art as Trigger Ocula Conversation Melati Suryodarmo: Performance Art as Trigger

In 2012, Melati Suryodarmo opened Studio Plesungan in her native Surakarta, also known as Solo, the historic royal capital of the Mataram Empire of Java in Indonesia. Suryodarmo had returned to Indonesia from Germany, where she studied Butoh and choreography with Butoh dancer and choreographer Anzu Furukawa, time-based media with avantgarde...

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Lagos Biennial 2019: Stories from Africa’s most Populous City Ocula Report Lagos Biennial 2019: Stories from Africa’s most Populous City 15 Nov 2019 : Jareh Das for Ocula

Under the direction of Folakunle Oshun, the second edition of the Lagos Biennial (26 October–23 November 2019) includes works by over 40 Lagos-based and international artists, architects, and collectives. Curated by architect Tosin Oshinowo, curator and producer Oyindamola Fakeye, and assistant curator of photography at the Art Institute of...

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Hans Hartung and Art Informel: Exhibition Walkthrough Ocula Insight | Video
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Hans Hartung and Art Informel: Exhibition Walkthrough 15 October 2019

Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy.Born in Leipzig in 1904, Hans...

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John M Armleder

b. 1948, Switzerland

John M Armleder is one of the most important and influential Swiss artists of his generation. With his stylistic breadth and vocabulary, he has created an inimitable universe of diverse works that oscillate fluidly between the fields of art, design, concept, geometry, Pop and Trash. His re-investigation of what art is, what art can do, and what art is allowed to do remains as vital now as it has been throughout his career.

Armleder’s work has its origins in Fluxus, and particularly in that movement’s shared interest in chance and performance. Yet his work defies easy categorisation. Despite the influence of Fluxus attitudes and the artist’s passion for the musical compositions of John Cage, Armleder’s work has always resisted the manifesto, any form of theoretical attitudes or indeed, a social or political agenda.

The objects, installations, paintings, sculptures and performances he has created in recent years have always been eclectic in their nature and appearance. His paintings are often juxtaposed with furniture or design objects or hung on wallpaper of repeated motifs.

Through playful compositions the objects he presents are often completely divorced from any formal artistic concerns. He actively blurs the traditional notions of the support and the surface, of the subject and object and of high and low art, and challenges customary ways in which the viewer has come to perceive and experience modern and contemporary art and the nature of the places that have come to be used for its display.

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Featured Artworks

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Ombres by John M Armleder contemporary artwork
John M ArmlederOmbres, 2018 Mixed media on canvas
225 x 150 cm
Almine Rech
Ash by John M Armleder contemporary artwork
John M ArmlederAsh, 2019 Mirrored acrylic, mirrored glass, disco balls, stainless steel spheres
David Kordansky Gallery
(Spla)SH by John M Armleder contemporary artwork
John M Armleder(Spla)SH, 2019 Acrylic on wall
180 x 672 inches
David Kordansky Gallery
Lash VII by John M Armleder contemporary artwork
John M ArmlederLash VII, 2019 Mirrored acrylic
51 1/8 x 56 inches
David Kordansky Gallery
Lash VI by John M Armleder contemporary artwork
John M ArmlederLash VI, 2019 Mirrored acrylic
51 1/8 x 56 inches
David Kordansky Gallery
Lash V by John M Armleder contemporary artwork
John M ArmlederLash V, 2019 Mirrored acrylic
51 1/8 x 56 inches
David Kordansky Gallery
Lash IV by John M Armleder contemporary artwork
John M ArmlederLash IV, 2019 Mirrored acrylic
16 3/4 x 19 inches
David Kordansky Gallery
Lash III by John M Armleder contemporary artwork
John M ArmlederLash III, 2019 Mirrored acrylic
16 3/4 x 19 inches
David Kordansky Gallery

Recent Exhibitions

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Contemporary art exhibition, John M Armleder, Sh/Ash/Lash/Splash at David Kordansky Gallery, Los Angeles
Closed
27 June–24 August 2019 John M Armleder Sh/Ash/Lash/Splash David Kordansky Gallery, Los Angeles
Contemporary art exhibition, John M Armleder, John M Armleder at Almine Rech, Paris
Closed
6 June–28 July 2018 John M Armleder John M Armleder Almine Rech, Paris
Contemporary art exhibition, John Armleder, Solo exhibition at Almine Rech, New York
Closed
18 January–23 February 2017 John Armleder Solo exhibition Almine Rech, New York

Represented By

In Related Press

'As Conceptual As It Gets': Fluxus Pioneer John Armleder Discusses His Bi-Coastal Restrospective Related Press 'As Conceptual As It Gets': Fluxus Pioneer John Armleder Discusses His Bi-Coastal Restrospective Forbes : 18 January 2017

'Intentions — I never have any, and if I had one, I'd be inclined to forget about it,' said the artist John Armleder Tuesday afternoon as he was putting the finishing touches on a retrospective of his work dating back to the early 1960s, opening Wednesday, January 18th at the Almine Rech Gallery on Manhattan's Upper East Side. Rather, the...

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The Shell (Landscapes, Portraits & Shapes), a show by Éric Troncy Related Press The Shell (Landscapes, Portraits & Shapes), a show by Éric Troncy Art Agenda : 2 February 2015

In 1991, in response to critiques of his exhibition No Man’s Time at Villa Arson in Nice, curator Éric Troncy wrote a letter to the editors of Flash Art, in which he argued that the exhibition had been “based on no particular concept,” thus locating it outside of any theoretical framework. Instead, he positioned the show in...

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