Eberhard Bosslet

Dossier of works

• 1979: Self-referential works in words and writing-form of painting, photography, wall-drawings, and plates; site-specific interior work with wall-drawings and plates.
• Since 1979:
• * Sculptures and installations with electric light and electric steering;
• * Performance "Per-/Re-ception" in a hall at an industrial yard in Speyer, Germany, using electric installation, electric light, zinc sulfide ; photographic details of existing situations in the hall, projected in color or black-and-white negative slides, on the situations themselves.
• 1980: Wood panels, coated with colored varnish, and variably arranged in layers.
• Since 1980: Broken glass-panes, site-specific and installation works, as well as paintings with partially colored-coated broken glass, acrylic panes and flexible PVC sheets indoors and outdoors.
• 1981: Works with roadway markings and roadblocks.
• 1982: "Mobilien & Immobilien", a series of photographs, produced with a painted Vespa motor scooter, and colored house facades at Tenerife/Canary Islandes.
• 1982 - 84: "Mobiliar", and "Stand der Dinge" ; photographs of interior designs in which the backgrounds and objects were painted.
• Since 1982:
• * Series of color photographs at the Canary Islands, Spain;
• * Urban exploration: so-called "scrap metal and sun"; Abandoned cars in southern landscape;
• * "Interventions" in public space, site specific art,
• 1983: Works of rubble at a waste dump.
• 1983–2011:
• * Works with ruins, so-called "Re/formations and side effects"; here, stabilization and destabilization of perception of conditions of industrial and residential buildings by white painted lines or black painted color fields;
• * Side-specific outdoor intervention.
• 1985 - 88: Painting — each form complex has its own color and paint material; the "facade ground" is a significantly visible component, and is of equal value as the variables, "form, color, and paint material".
• Since 1985: "Supporting Measures" — indoor, space-related installations and sculptures with items of the building trade; here, new arrangement of space, apparent stabilization and destabilization of the building material and the space itself, by building in structural bodies.
• 1986: "Basements" — low, floorplan-like sculptures, with concrete blocks and copper pipe, or bricks and copper pipe.
• 1987 - 1989|89: Sculptures of "Filing Cabinets" with wood, steel strips; tension and pressure keeps the new order of components stable.
• Since 1989:
• "Tapestry" of industrial textiles, with no "ground" due to the color-form-material complexes, sewed up next to each other;
• Wall fixtures, varying in type and shape, have a supporting and visual function.
• Since 1989:
• * Project drawings for planned sculptures and installations, computer-generated using a pixel-oriented program, and printed with a 24-needle printer;
• * "Pneumatic Pieces" — Free-standing works, with hydraulically or pneumatically driven lifting devices for inside; "contraptions" made of items from industrial and domestic parts.
• * "Pneumatic Installations" — Installed works, with hydraulically or pneumatically driven lifting devices for both inside and outside; "contraptions" made of items from industrial and domestic parts.
• 1993 - 98:
• * "Bilaterale Beziehungen" ;
• "Screens": Lattice-structures of rubber- or polyurethane-mounted on both sides of a wall; anchor bars inserted into holes in the walls, helical pressure springs, and anchor nuts have a visual function and hold the parts together.
• * "Gloriolen": cast reliefs, mounted on both sides of a wall, using the same principle as in "Screens", the cast reliefs are held together through anchor bars, helical pressure springs, and anchor nuts that also have a visual function.
• Since 1995: "Barrieren" — foundation-like, knee-high constructions in concrete and steel reinforcement, made on site, designed for the dimensions of the space, and blocking the evident path through the room.
• 1998–2001: "Spacelab" — made out of living room lights from the 1950s–1970s, hanging from the ceiling.view]
• Since 2000:
• * "Analogic Discs"
• * Paintings: Trampolines are the support, which is a constructive and visual part of the appearance. The support, the form, the material and the color are different, and they are piled on each other.
• Since 2001
• * Biomorphic sculptures "Stool Archipelago", "Island growth", "stump stools" are groups of sculptures made of fibreglass plastic on the basis of known organic forms.
• Since 2003
• * Colour photo series entitled Falsches Wasser featuring ships and boats on land in town or countryside settings on the Canary Islands, Spain.
• Since 2006
• * EinRaumHaus colour photo series of small buildings in the landscape of the Canary Islands, Spain.
• * Instant sculptures: The sculpture entitled "roundabout" for the public space, consisting of industrial units such as trolleys and fences, which contrary to its conventional use are connected to mega-structures.

  Exhibitions

One man shows

• Since 1981: "Interventions" in public space, Antwerp, Barcelona, Canary Islands, Duisburg, Spain, Germany.
• 1985: "Interventiones", Fundación Miró, Barcelona; Espacio P, Madrid, Spain.
• 1986: Wilhelm-Lehmbruck-Museum, Duisburg, Germany.
• 1987: Heidelberger Kunstverein, Germany.
• 1988:
• * February: John Gibson Gallery, New York City, US.
• * Mercer Union, Toronto, Canada.
• * John Gibson Gallery, September, New York City, US.
• 1989:
• * Barbara Farber Gallery, Amsterdam, the Netherlands.
• * Neue Nationalgalerie Berlin, Germany.
• * Karl Bornstein Gallery, Santa Monica, California, US.
• 1990:
• * Galerie Le Gall-Peyroulet, Paris, France.
• * John Gibson Gallery, New York City, US.
• 1991:
• * Kunstraum Wuppertal, Germany.
• * Galerie Gilles Peyroulet, Paris, France.
• 1993:
• * Kunsthal Rotterdam, the Netherlands.
• * Sala 1, Rome, Italy.
• * Galerie Blancpain-Stepczynski, Geneva, Switzerland.
• 1995:
• * Interventionen II, VERBAU, Sprengel Museum Hannover, Germany.
• * PLANEN, Kunstverein Heilbronn, Germany.
• 1998: Fundamental wie Bilateral, Kunsthalle Mannheim, CD-ROM for PC, Germany.
• 2000:
• * Satellites, Galerie Bochynek, Düsseldorf, Germany.
• * Interventions, John Gibson Gallery, New York City, US.
• 2002: "Analog Discs", Galerie Bochynek, Düsseldorf, Germany.
• 2004:
• * Okkupanten, Künstlerhaus Bregenz, Palais Thurn und Taxis, Austria.
• *Interventionen und Tekko-Tische, Chiara Marzi Gallery, Berlin
• 2005: Galerie AT, Barriere, Poznan, Poland
• 2006: Galerie der Stadt Backnang, Germany
• 2007: Stadtgalerie Saarbrücken,, Germany
• 2009: Additive, Kunstverein Ingolstadt, CD-ROM-archive with booklet in softbox, Germany
• 2010: Humboldt-University Berlin, Thaer-Saal, Berlin, Germany
• 2011: Stump stools, Lichthof im Albertinum Dresden, Dresden, Germany
• 2012: Dingsda, Saarland Museum, Saarbrücken, Germany
• 2014: Chisme-Heavy Duty, TEA Tenerife Espacio de las Artes, Santa Cruz de Tenerife, Spain

  Group shows

• 1987:
• * Bremer Kunstpreis 1987, Kunsthalle Bremen, Germany,.
• * documenta, documenta 8, Kassel, Germany,.
• 1988:
• * European sculpture made in USA, John Gibson Gallery, New York City, US.
• * BRD abstract tendenciens in new German art, Karl Bornstein Gallery, St. Monica, California, US.
• * Spaces 88, Museo d'arte contemporanea Prato, Italy.
• * New Poverty, MeyersBloom Gallery, Santa Monica, California, US.
• 1989: Intuition, John Gibson Gallery, New York City, US.
• 1990:
• * Three German Sculptors, Bosslet, Robbe, Staehle, Anthony Ralph Gallery, New York, US.
• * Trans-Europe-Express, John Gibson Gallery, New York City, US.
• * Non-Sculpture, Barbara Farber Gallery, Amsterdam, the Netherlands.
• * The Collection 1988-90, Museo d'arte contemporanea Prato, Italy.
• 1991: Eurocard, John Gibson Gallery, New York City, US.
• 1992:
• * 30th anniversary of Amnesty International, Hótel des arts, Paris, France.
• * Kunst werkt, Peter Stuyvesant Foundation, Stedelijk Museum Amsterdam, Foundación Miró, Barcelona, Palacio de la Lonja, Zaragoza, Spain.
• * The 1980s, John Gibson Gallery, New York City, US.
• * Humpty Dumty's Kaleidoscope: A new generation of German artists, Museum of Contemporary Art Sydney, Australia.
• * Avantgarde Reflex Ost-West, Potsdam, Germany.
• 1993:
• * Eberhard Bosslet & Lawrence Gipe, Kunstverein der Rheinlande und Westfalen, Düsseldorf, Germany.
• * John Gibson Gallery, New York City, US.
• * La Laiterie, Amnesty International, Strasbourg, France.
• 1994:
• * New Furniture for the Villa, Villa Merkel Esslingen, Germany.
• * Villa Massimo 1988-92, Kunstverein Hannover, Germany.
• 1997: The Pleasure of Reading, John Gibson Gallery, New York City.
• 1998: Material & Wirkung, Bosslet, Sattel, Klotz, Kunsthaus Dresden, Germany.
• 2003: Unexpected selections from the Margulies collection, The Art Museum, Miami, Florida, US.
• 2004:
• * WorldWatchers, Kunsthaus Dresden, Germany
• * Konstruktion I Statik, Rüdiger Lange -Loop - Raum für aktuelle Kunst, Berlin, Germany
• 2006:
• * Faszination Fußball, Pfalzgalerie Kaiserslautern, Catalog, Germany
• * Filzfabrik Speyer, Künstlerbund Speyer, Germany
• * Das Jahrhundert moderner Skulptur, Wilhelm-Lehmbruck-Museum, Duisburg, Germany
• 2007: 1plus aus Dresden, Schloss Waldthausen bei Mainz, Germany
• 2008:
• * Ostrale 08, Zentrum für zeitgenössische Kunst, Dresden, Germany
• * 2nd Bienal de Canarias, Arte, Arquitectura y Paisaje, La Regenta,

• *"berufen", Hochschule für Bildende Künste Dresden, Germany
• 2009:
• * Ostrale 09, Ausstellung internationaler zeitgenössicher Künste, Dresden, Germany
• * 1st Biennale für Internationale Lichtkunst Ruhr,, Curator Matthias Wagner K, Germany
• 2010: Liebhaberstücke, Kunstmuseum Mülheim, Germany,
• 2011:
• * Universum, Temporärer Kunstraum Harkort, Leipzig, Germany
• * Kunst in der Villa Körbling, Speyer End of the dream, MicaMoco, Berlin, Germany
• 2012:
• * Participar, El Matadero, Madrid, Spain
• * art claim impulse, Berlin, Germany
• * 2nd Ural Industrial Biennial of Contemporary Art, Ekaterinburg, Russia