About

The ZERO-ABC research project is a concentrated compendium of ZERO art. A selection of 26 terms that are central to this art are presented by international academics from the fields of art theory and history, music, sociology and theatre, as well as by the ZERO foundation’s academic team.

Editor and Managing Editor

Barbara Könches for the ZERO foundation

Assitant Editors:

Rebecca Welkens

Anna-Lena Weise

Copyediting and Proofreading (English texts):

Bill Roberts

Figure Reference

Poster for the exhibition ZERO in Bonn, Städtische Kunstsammlungen, Bonn, 1966, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp. ZERO.1.VII.54

Gencay Kasapçi, Untitled, 1964, 50 x 70 cm, acrylic on paper, collection of the ZERO foundation, inv. no. mkp.ZERO.2016.03, photo: Judith Michaelis

Old storage boxes from the estate of Otto Piene, archive of the ZERO foundation, photo: Judith Michaelis

Collection of historical books, exhibition catalog on ZERO in Bonn, Städtische Kunstsammlungen, Bonn, 1966, archive of the ZERO foundation, photo: Judith Michaelis

Günther Uecker, Heinz Mack, and Otto Piene at the restaurant Tante Anna’s, Düsseldorf, around 1960, archives of the ZERO foundation, photo: Heinz Corneth

4th Evening Exhibition, atelier Gladbacher Strasse 69, Düsseldorf, September 26, 1957, archive of the ZERO foundation, photo: Hans Salentin

Otto Piene in his atelier at Gladbacher Strasse 69, Düsseldorf, 1958, archive of the ZERO foundation, photo: Paul Brandenburg

Atelier Gladbacher Strasse 69 (exterior with view of the entrance), Düsseldorf, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp ZERO.1.V.11, photo: Heinz Mack

Heinz Mack and Otto Piene during the 4th Evening Exhibition in their atelier at Gladbacher Strasse 69, Düsseldorf, September 26, 1957, archive of the ZERO foundation, inv. no. mkp.ZERO.0.V.74, photo: Hans Salentin

Invitation card for the exhibition ZERO in Bonn, Städtische Kunstsammlungen Bonn, 1966, archive of the ZERO foundation, estate Heinz Mack, mkp.ZERO.1.VII.68

Woman with ZERO 3, n.d. (about 1961), archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp.ZERO.1.V.211, photo: unknown

Azimuth, 1, 1959, cover, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp.ZERO.0.VII.59 (1)

Azimuth, 1, 1959, p. 25, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp.ZERO.0.VII.59 (1)

Nul=0, 2, 1963, p. 21, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp.ZERO.0.VII.58 (1–2)

Nul=0, 1, 1961, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp.ZERO.0.VII.58 (1–2)

nota, 4, 1960, p. 14, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp ZERO.1.VII.149

ZERO 1, 1958, p. 10–11, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp.ZERO.1.VII.137

ZERO 2, 1958, p. 1–2, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp.ZERO.1.VII.139

ZERO 3, 1961, various pages, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp.ZERO.1.VII.144

Installation view of the exhibition Far from the Void: ZERO and Postwar Art in Europe, IVAM Centre Julio González, Valencia, 2022/23, photo: IVAM

Portrait of Eugen Gomringer, 1954/2018, photo: unknown

Paul de Vree, Integratie, in De Tafelronde, 10. vols., no. 1, 1964, p. 2, photo: H. Erdmann

Heinz Mack, Zéro: mögliche Konzeptionen, 1966, 74.5 × 100 cm (cardboard), 70.5 × 65 cm (sheet), felt-tip pen, colored pencil, pencil, biros, ink, and collage on white paper, mounted on black cardboard, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp.ZERO.1.IV.30

Heinz Mack, Radius Zero, undated (1970), 53 × 69 cm (cardboard), 50 × 65 cm (sheet), felt-tip pen and biros on paper, mounted on gray cardboard, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp.ZERO.1.IV.25

Heinz Mack, ZERO (Circles), undated (around/after 1964), 74.5 × 100 cm, collage, felt-tip pen, pencil on cardboard, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp ZERO.1.IV.31

Gemeinschaftsarbeit "Weiße Lichtmühle", Heinz Mack, Otto Piene, Günther Uecker

Atelier of Heinz Mack at Gladbacher Strasse 69, around 1957, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp.ZERO.1.V.42, photo: Heinz Mack

Josef Albers, Study for Homage to the Square, 1962, oil on masonite, 60 x 60 cm, photo: Werner J. Hannappel

Portrait drawing of Konrad Adenauer, CDU campaign poster for the 1957 Bundestag election, “No experiments!”, design: Paul Aigner, commissioned by: CDU federal office, Bonn

Bernard Aubertin looking at a reclining fire painting in his studio, Paris, 1971, courtesy Kunstmuseum Reutlingen | konkret, photo: unknown

Heinz Mack, Grosse Stele in der Wahiba-Wüste, Oman, 1997, height 14 m, aluminum reflectors, anodiszed, photo: Archive Heinz Mack

Heinz Mack, Feuerschiff (still from the film Tele-Mack) 1968, ca. 10 x 18 x 8 m, pyrotechnics, wooden construction, photo: Edwin Braun/ Archive Heinz Mack

Otto Piene‘s Feueratelier at Hüttenstrasse 104, Düsseldorf, 2019, photo: Laurenz Berges

Otto Piene, Die Sonne brennt, 1966, 100 x 130 cm, oil, smoke, fire on canvas, collection Kunstpalast, Düsseldorf, inv. no. 0.1973.175, photo: Kunstpalast–Artothek

Otto Piene in his atelier at Gladbacher Strasse 69, Düsseldorf, 1966, photo: Maren Heyne

Jean Tinguely, Niki de Saint-Phalle, Study For an End of the World No. 2, 1962, Jean Dry Lake, Nevada, photo: Museum Tinguely, Basel/Life Magazine

Exterior view of the Galerie Hubertus Schoeller, Poststrasse 2, Düsseldorf, during the opening exhibition in 1980, ZADIK, A 71, X, photo: Hoppe

Poster for the exhibition Gruppe Zero, Galerie Hubertus Schoeller, Düsseldorf, 1988, design: Otto Piene, archive of the ZERO foundation, inv. no. mkp. ZERO.0.VII.13, photo: Judith Michaelis

Letter from Hubertus Schoeller to Otto Piene with handwritten reply from Otto Piene to Hubertus Schoeller, August 9, 1988, and August 16, 1988, ZADIK, A 71, VIII, 7

Floor plans for the hanging of the exhibition Gruppe Zero, Galerie Hubertus Schoeller, Düsseldorf, 1988, ZADIK, A 71, VIII

Labeled beer mat for the ZERO party, 1989, front and back, ZADIK, A 71, VIII

Heinz Mack, Otto Piene, Günther Uecker, Lichtraum (Hommage à Fontana), 1964, installation view at Documenta III, Kassel, photo: Gitta von Vitany

Günther Uecker, Hommage à Fontana, 1962, 100 x 80 cm, nails, graphite on canvas over wood, private collection, photo: Ketterer Kunst, Munich

Otto Piene, Lichballett „Hommage à New York“, Edition 2/3, 1966/2016, collection of the ZERO foundation, Düsseldorf, inv. no. mkp.ZERO.2014.28, photo: Jürgen Vogel

Günther Uecker, Hommage à Broadway, 1965, 174 x 174 x 33.5 cm, Kunsthalle Recklinghausen, photo: Irina Eckmeier

Letter from Hermann Warner Williams Jr., The Corcoran Gallery of Art, Washington, DC, to Otto Piene, February 27, 1962, archive of the ZERO foundation, estate of Otto Piene, inv. no. mkp. ZERO.2.I.695

Letter from Hermann Warner Williams Jr., The Corcoran Gallery of Art, Washington, DC, to Otto Piene, July 20, 1962, archive of the ZERO foundation, estate of Otto Piene, inv. no. mkp.ZERO.2.I.697

List of works for the Corcoran Gallery of Art by Otto Piene, Washington, DC, archive of the ZERO foundation, estate of Otto Piene, inv. no. mkp.ZERO.2.I.694

Letter from Lawrence Alloway, The Solomon R. Guggenheim Museum, to Galerie Schmela, August 21, 1963, archive of the ZERO foundation, estate of Otto Piene, inv. no. mkp. ZERO.2.I.1950_2

Letter from Dalzell Hatfield Galleries to Heinz Mack, Los Angeles, November 20, 1963, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp.ZERO.1.157

Postcard from Piero Dorazio to Otto Piene (front and back), Philadelphia, archive of the ZERO foundation, estate of Otto Piene, inv. no. mkp.ZERO.2.I.1471

Catalogue of the exhibition Group Zero with a work by Robert Indiana, Institute of Contemporary Art, Philadelphia, University of Pennsylvania, 1964, archive of the ZERO foundation, estate of Otto Piene, inv. no. mkp. ZERO.2.VII.33

Letter from Thomas B. A. Godfey, University of Pennsyl- vania, Philadelphia, to Heinz Mack, November 2, 1964, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp. ZERO.1.I.967

Postcard from Otto Piene to Heinz Mack (front and back), Philadelphia, September 10, 1964, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp.ZERO.1.I.969

Installation view of the exhibition Zero, Howard Wise Gallery, New York, 1964, archive of the ZERO foundation, estate of Heinz Mack, mkp.ZERO.1.V.63, photo: Heinz Mack

Postcard from Günther Uecker to Heinz Mack, front, undated, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp. ZERO.1.I.873_1

Postcard from Günther Uecker to Heinz Mack, back, undated, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp. ZERO.1.I.873

Postcard from Walter Leblanc, Heinz Mack, Nanda Vigo, and Getulio Alviani to Otto Piene, front, undated, archive of the ZERO foundation, estate of Otto Piene, inv. no. mkp.ZERO.2.I.1914

Postcard from Walter Leblanc, Heinz Mack, Nanda Vigo, and Getulio Alviani to Otto Piene, back, undated, archive of the ZERO foundation, estate of Otto Piene, inv. no. mkp.ZERO.2.I.1914

Letter from Heinz Mack to Lucio Fontana [draft letter], July 2, 1960, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp.ZERO.1.I.316

Installation view of the exhibition Le Mouvement, Galerie Denise René, Paris, April 1955. Works by Marcel Duchamp, Yaacov Agam, Alexander Calder, and Jean Tinguely

Poster of the exhibition Kinetische Arbeiten, Galerie Hella Nebelung, Düsseldorf, 1963, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp.ZERO.1.VII.167

Poster of the exhibition Kinetik II, Galerie Hella Nebelung, Düsseldorf, 1964, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp. ZERO.1.VII.168

Poster of the exhibition Licht und Bewegung, Kunsthalle Bern, 1965, design: Peter Megert, photo: Museum für Gestaltung Zürich, Plakatsammlung, ZHdK

Letter from Harald Szeemann to Heinz Mack regarding the exhibition Licht und Bewegung, Kunsthalle Bern, February 25, 1965, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp.ZERO.1.I.987

Letter from Harald Szeemann to Otto Piene regarding the exhibition Licht und Bewegung, Kunsthalle Bern, February 24, 1965, archive of the ZERO foundation, estate of Otto Piene, inv. no. mkp.ZERO.2.I.2402

Günther Uecker, Lichtrommel (Lightdrum), part of the Lichtraum (Hommage à Fontana) by Heinz Mack, Otto Piene, and Günther Uecker, 1964, Documenta III, Kassel, courtesy documenta archiv, Kassel, photo: Horst Munzig

Letter from Christian Megert to Otto Piene with a note from Otto Piene, March 20, 1965 / May 25, 1965, archive of the ZERO foundation, estate of Otto Piene, inv. no. mkp.ZERO.2.I.2368

Installation view, the group ZERO room at the exhibition KunstLichtKunst, Van Abbemuseum, Eindhoven, 1966, courtesy archives Van Abbemuseum Eindhoven, photo: Van den Bichelaer, Geldrop

László Moholy-Nagy, Licht-Raum-Modulator, 1930, 201.7 x 78.8 x 69.7 cm, collection Van Abbemuseum, Eindhoven, photo: Peter Cox, Eindhoven

Heinz Mack, installation view of the exhibition ZERO in Bonn, 1966, Städtische Kunstsammlungen Bonn

Otto Piene, Prager Lichtraum, 2002/2017, 370 x 475 x 460 cm, perforated plates, lightmills, cube, cylinder, collection of the ZERO foundation, inv. no. mkp.ZERO.2013.06, photo: Museum of Steel Art, Pohang

Nanda Vigo, Cronotopo, 1965, 100 x 100 x 10 cm, molded glass, brushed aluminum frame, illuminant, white neon, collection of the ZERO foundation, inv. no. mkp. ZERO.2022.01

Georg Katzer, Mein 1989, 1990, design: Helin Korkmaz

Georg Katzer, Aide-mémoire, 1983, design: Helin Korkmaz

Iannis Xenakis, Metastaseis, 1953-1954, Grafic design: Rudolf Frisius, based on a model by the composer.

Karlheinz Stockhausen, Studie I, 1953, Autograph score

Jia Liu, Sinsstudie, 2019, design: Jia Liu

Jia Liu, Ringstudie II/b, 2020, design: Jia Liu

Karlheinz Stockhausen, Kontakte, 1958–60, above min. 17:05 to after 18:45, autograph score, two curves below added by Jia Liu

Jean-Dlaude Risset, Little Boy, 1968, design: Helin Korkmaz

The mushroom cloud over Hiroshima after the detonation of Little Boy on August 6, 1945, photo: George R. Caron

Letter from Heinz Mack, Otto Piene, Günther Uecker, and Hans Haacke to the International Galerij Orez, The Hague, copy from Otto Piene to Heinz Mack, New York, August 23, 1965, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp. ZERO.1.I.653_1

Hans Haacke, Lebendes Flugsystem / Live Airborne System, November 30, 1968, Coney Island, New York, courtesy Hans Haacke, photo: Hans Haacke

Otto Piene, project sketch The Boston Harbor Project, 1968, archive of the ZERO foundation, estate of Otto Piene, inv. no. mkp. ZERO.2.IV.171

Otto Piene, project sketch The Boston Harbor Project, 1968, archive of the ZERO foundation, estate of Otto Piene, inv. no. mkp. ZERO.2.IV.171_2

Otto Piene, project sketch The Boston Harbor Project, 1968, archive of the ZERO foundation, estate of Otto Piene, inv. no. mkp. ZERO.2.IV.171_3

Otto Piene, Sky Art, 1969, portfolio with a total of 25 lithographs on paper, sheet XX, 88.9 x 63.5 cm, collection of the ZERO foundation, Düsseldorf, inv. no. mkp.ZERO.2014.15

Filmstrip from: Günther Uecker, Möweninsel (Seagull Island), statisch (static), 1970, 16 mm film, black/white, 3 min., referring to: Zero on Sea, 1965

Filmstrip from: Günther Uecker, Schwebend schweben (Hover Hovering), in Bewegung (in motion), structural sequences, 1970, 16 mm film, black/white, 3 min

Heinz Mack, ZERO-Zeit 220 Volt, 1961/67/2008, 210 x 62 x 62 cm, metal, glass, electrics, collection of the ZERO foundation, inv. no. mkp.ZERO.2008.11, photo: Melanie Stegemann

Poster for the exhibition Mack + Klein + Piene + Uecker + Lo Savio = 0, Galleria La Salita, Rome, 1961, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp. ZERO.1.VII.44

Poster for the exhibition Nul, 1962, Stedelijk Museum Amsterdam, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp. ZERO.1.VII.47_1

Plakat zur Ausstellung Mack, Piene, Uecker in der Kestner-Gesellschaft, Hannover, 1965, Archiv der ZERO foundation, VL Mack, Inv Nr. mkp.ZERO.1.VII.52(1), Foto: ZERO foundation, Düsseldorf.

Poster for the exhibition ZERO: An Exhibition of European Experimental Art, Washington Gallery of Modern Art, Washington, DC, 1965, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp. ZERO.1.VII.110

Heinz Mack, ZERO-Ballon, photocollage, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp.ZERO.1.V.4

Poster for the exhibition Mikro Nul Zero, Galerie Delta, Rotterdam, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp.ZERO.1.VII.116, photo: Horst Kolberg

Poster for the exhibition ZERO-0-Nul, Gemeentemuseum Den Haag, 1964, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp.ZERO.1.VII.51(1)

ZERO 3, various pages, 1961, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp. ZERO.1.VII.144

Nul = 0, 2, 1963, cover, archive of the ZERO foundation, inv. no. mkp. ZERO.5.VII.14

Reiner Ruthenbeck, Zero festival, ZERO people with balloons,1962, gelatin silver print, photo: Stiftung Kunstfonds, Künstler:innen- archiv/estate Reiner Ruthenbeck

Günther Uecker, Entwurf ZERO-Kleid, 2006, 60,6x43,2 cm, Bleistift, Acrylfarbe und Tonpapier auf Papier, Sammlung der ZERO foundation, Inv. Nr. mkp.ZERO.2019.02, ZERO foundation, Düsseldorf.

Poster for the exhibition Dynamo 1, Galerie Renate Boukes, Wiesbaden, 1959, design: Otto Piene, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp.ZERO.1.VII.32

Poster for the exhibition ZERO: Edition, Exposition, Demonstration, Galerie Schmela, 1961, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp.ZERO.1.VII.86

Otto Piene, poster design for the exhibition Sensibilité prussienne, Galerie Dato, Frankfurt am Main, 1961, archive of the ZERO foundation, estate of, Otto Piene, inv. no. mkp. ZERO.2.IV.14

Otto Piene, poster design for the exhibition Dynamo 1, Galerie Renate Boukes, Wiesbaden, 1959, archive of the ZERO foundation, estate of Otto Piene, inv. no. mkp.ZERO.2.IV.99

Günther Uecker, Sintflut Manifest – Überflutung der Welt TRANSGRESSION, 1963, 60.5 x 35.0 cm, collage with nails, collection of the ZERO foundation, Düsseldorf, inv. no. FK ZERO.2023.02, photo: Matias Möller

Günther Uecker, Sintflut (Die Engel Fliegen), 1963, 89 x 62.5 cm, photo collage, collection of the ZERO foundation, Düsseldorf, inv. no. FK ZERO.2023.03, photo: Matias Möller

Poster and invitation card for the exhibition Sintflut der Nägel, Galerie D, Frankfurt am Main, 1963, design: Günther Uecker, archive of the ZERO foundation, estate of William E. Simmat, inv. no. mkp.ZERO.7.VII.3

Entwurf für Plakat und Einladungskarte für die Ausstellung Sintflut der Nägel, Galerie d, Frankfurt am Main, 1963, Design: Günther Uecker, Archiv der ZERO foundation, Nachlass William E. Simmat, Inv. Nr. mkp.ZERO.7.VII.2

Poster for the exhibition Konstruktivisten, Museum Morsbroich, Leverkusen, 1962, design: Heinz Mack, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp.ZERO.1.VII.175

Draft for the poster for the exhibition Konstruktivisten, Museum Morsbroich, Leverkusen, 1962, design: Heinz Mack, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp.ZERO.1.IV.32

Poster for the exhibition Integratie 64, Arena- Centrum, Antwerp, 1964, design: Heinz Mack, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp.ZERO.1.VII.114

Poster for the exhibition Mavignier. Bilder + Plakate, Galerie Nota, Munich, 1961, design: Almir Mavignier, courtesy Delmar and Sigrid Mavignier

Installation view of the documentation room at Zero in Bonn, Städtische Kunstsammlungen Bonn, 1966, archive of the ZERO foundation, inv. no. mkp.ZERO.0.V.35

Heinz Mack, Otto Piene, Günther Uecker, Zero-Manifest, 1963, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp. ZERO.1.VII.126

Poster for the exhibition Monochrome Malerei, Museum Morsbroich, Leverkusen, 1960, archive of the ZERO foundation

Jesús Rafael Soto, 4 carrés bleus sur 1 bleu, 1977, 202 x 202 x 22 cm, courtesy Soto Estate, photo: unknown

Heinz Mack, Ohne Titel – Rote Dynamische Struktur, 1958, 64 x 82 cm, synthetic resin on canvas, photo: Archive Heinz Mack

Władysław Strzemiński, Kompozycja unistyczna 13, 1934, 50 x 50 cm, oil on canvas, Muzeum Sztuki, Łódź

Günther Uecker, Białe pole – Hommage à Strzemiński, 1970, 65 x 65 x 9 cm, nails, chipboard, canvas, Muzeum Sztuki, Łódź

Installation view of exhibition Günther Uecker: Struktury, 1974–75, 160 x 160 x 18.5 cm, nails, wood, canvas, Archiwum Muzeum Sztuki, Łódź

Henryk Stażewski, Relief aluminiowy 2, 1965, aluminum, wood, 64 x 100 cm, Muzeum Narodowe we Wrocławiu.

Jerzy Rosołowicz, Neutron Temat 3/a, 1965, 70 x 70 cm, wood fibreboard, Muzeum Narodowe, Wrocław

Günther Uecker, Symmetrische Struktur, 1958, 85 x 85 cm, nails on canvas on wood, private collection

Heinz Mack, Struktur der Bewegung, 1960, 137 x 73.5 x 73.5 cm, steel, glass, aluminum, photo: Archive Heinz Mack

Otto Piene, Lichtweisskreis, 1960, 68.5 x 96.5 cm, oil on canvas, Von der Heydt- Museum, Wuppertal, photo: Antje Zeis-Loi, Medienzentrum Wuppertal

Heinz Mack, Silbersteine, 1961, 150 x 100 x 8 cm, plaster, silver flakes, stainless steel, wood, Archive Heinz Mack, photo: Weiss-Henseler Werbefotografie

Typescript by Otto Piene, titled Licht, undated, archive of the ZERO foundation, estate of Otto Piene, inv. no. mkp. ZERO.2.IV.13

Installation view of Otto Piene, Light Ballet, MIT List Visual Arts Center, 2011, courtesy MIT List Visual Arts Center

Günther Uecker, Röhrenballett, Düsseldorf Opera House, 1969, photo: Lothar Wolleh @ Lothar Wolleh Estate, Berlin

Installation view of Otto Piene, Die Sonne kommt näher (The Proliferation of the Sun), 1966–67, 35-minute multimedia performance with hand-painted glass slides, sound, and five carousel projectors, Galerie Art Intermedia, Cologne, courtesy of Otto Piene Estate, photo: unknown

Ballet evenings, Deutsche Oper am Rhein, May 19, 1969, Gravité, Concerto in G minor for organ, string orchestra and timpani by Francis Poulenc, stage design by Otto Piene, photo: Elfi Hess

Ballet evenings, Deutsche Oper am Rhein, May 19, 1969, Suite No. 1 for violincello by Johann Sebastian Bach, stage design by Günther Uecker, photo: Rudolf Eimke

Titus Andronicus, Düsseldorfer Schauspielhaus, December 12, 1970, stage design by Heinz Mack, photo: Lore Bermbach

Film poster The War of the Worlds, 1953, design: unknown

Cover of the book Das geteilte Atelier: Essays by Helmuth de Haas, 1955

Antoine de Saint-Exupéry, 1935, courtesy Nachlass Saint Exupéry- d‘Agay, Paris, photo: unknown

“Wege zum Paradies” typescript by Otto Piene, undated (ca. 1961), preparatory text for ZERO 3, archive of the ZERO foundation, estate of Otto Piene, inv. no. mkp.ZERO.2.IV.5_3 401

Planet Earth, Western Hemisphere, 2002, created by NASA, public domain

Ambrosius Holbein, Aerial view of the island of Utopia, 1518, 18 x 11.8 cm, woodcut and letterpress print, in Thomas More, De optimo reip. statu deque nova insula Utopia... (On the Best State of a Commonwealth and on the New Island of Utopia), Basel 1518, p. 12, collection of the British Museum, London

Günther Uecker and Jef Verheyen, Vlaamse Landschappen, Müllem, 1967, archive of the ZERO foundation, estate of Günther Uecker, photo: Gerald Dauphin/Photomuseum Antwerp

Heinz Mack in a silver suit, undated (1967), (Op) Art Galerie, Esslingen, courtesy Prof. Schmitt-Siegel, photo: Prof. Schmitt-Siegel, Bonn

Otto Piene, Olympic Rainbow, 1972, photo- graphic reproduction from slide, archive of the ZERO foundation, estate of Otto Piene, inv. no. mkp. ZERO.2.V.216_7, photo: Wolf Huber

Günther Uecker, Hommage à Broadway, 1965, 174 x 174 x 33.5 cm, object box, canvas-covered wooden rotor disk with hammered-in nails, socket, electric motor, light bulbs, sodium vapor lamp, Kunsthalle Recklinghausen, photo: Irina Eckmeier

Heinz Mack, Lichtdynamo, 1963, 122 x 122 x 32.5 cm, object box, structured rotor disk, socket, aluminum foil, electric motor, front disk made of corrugated glass, Kunsthalle Recklinghausen, photo: Alistair Overbruck

Heinz Mack, Lichtdynamo, 1963, 122 x 122 x 32.5 cm, object box, structured rotor disc, frame, aluminum foil, electric motor, front pane made of corrugated glass, general view of the front after restoration, Kunsthalle Recklinghausen, photo: Nicole Reds/Restaurierungsatelier Kerkhoff+Vogel, 2022

Nicole Reds while working on Hommage à Broadway by Günther Uecker, photo: Charlotte Stahmann, 2022

Herta Junghanns-Grulich, Horizontal-dynamisch, 1950/55, 100 x 125 cm, oil on canvas, Stadtmuseum Düsseldorf, photo: Stadtmuseum Düsseldorf

Heinz Mack, untitled, 1954, 99 x 121 cm, synthetic resin and oil paint on nettle, private collection NRW, courtesy archive Heinz Mack

Herta Junghanns-Grulich, ohne Titel 6, undated, 42 x 28 cm, mixed media on cardboard (behind glass), estate HJG, Düsseldorf, photo: Jan van der Most

Otto Piene, SCHWARZ WEISS GRAU, 1956/57, 125.3 x 167 cm, egg tempera on canvas, courtesy Sprüth Magers, Berlin

Card from Otto Piene to Hal Busse, March 9, 1958, archive of the ZERO foundation, estate of Otto Piene, inv. no. mkp.ZERO.2.809

Card from Hal Busse to Otto Piene, March 21, 1958, archive of the ZERO foundation, estate of Otto Piene, inv. no. mkp.ZERO.2.812

Note by Hal Busse on the 7th Evening Exhibition, undated, Hal Busse archive, Hamburg

Scan from the exhibition catalog Im Material, published by Württembergischer Kunst- verein Stuttgart, 1986, p. 31

Otto Piene, Hell Gelb Hell, 1958, 68.5 x 96.5 cm, oil on canvas, LWL-Museum für Kunst und Kultur, Westfälisches Landesmuseum, Münster, inv. no. 1333 LM, photo: LWL-Museum für Kunst und Kultur, Westfälisches Landesmuseum, Münster/Hanna Neander

Hal Busse, Bild 58, gelb, 1958, 130 x 172 cm, oil on hardboard, WVZ-HB-3RD-04891, private collection, courtesy Galerie Volker Diehl, Berlin, photo: Marcus Schneider

Dadamaino, Volume a moduli sfasati, 1960, 120 x 60 cm, perforated and superim- posed plastic canvases on wooden stretcher bars, Archivio Dadamaino, Somma Lombardo

Dadamaino, Volume, 1958, 70 x 50 cm, tempera on perforated canvas, courtesy A arte Invernizzi, Milan, photo: Bruno Bani, Milan

Poster Vigo, Mack, Piene, Uecker, Galerie Wulfengasse, Klagenfurt, 1964, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp.ZERO.1.VII.165

Telegram from Dadamaino to Heinz Mack, October 31, 1964, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp. ZERO.1.I.155

Heinz Mack and Nanda Vigo in the Sunday Telegraph, 28th of June 1964, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp.ZERO.1.II.41

Poster for the exhibition ZERO avantgarde 1965, Lucio Fontana‘s studio, Milan, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp. ZERO.1.VII.191

Title image from the film 0 x 0 = Kunst: Maler ohne Farbe und Pinsel by Gerd Winkler, Hessischer Rundfunk, first broadcast June 27, 1962

Rheinwiese, ZERO girl, from the film 0 x 0 = Kunst: Maler ohne Farbe und Pinsel by Gerd Winkler, Hessischer Rundfunk, first broadcast June 27, 1962, 0:55 min.

Rheinwiese, Gotthard Graubner, from the film 0 x 0 = Kunst: Maler ohne Farbe und Pinsel by Gerd Winkler, Hessischer Rundfunk, first broadcast June 27, 1962, 1:21 min.

Rheinwiese, Alfred and Monika Schmela, from the film 0 x 0 = Kunst: Maler ohne Farbe und Pinsel by Gerd Winkler, Hessischer Rundfunk, first broadcast June 27, 1962, 1:20 min.

Hermann de Vries and museum visitors, from the film 0 x 0 = Kunst: Maler ohne Farbe und Pinsel by Gerd Winkler, Hessischer Rundfunk, first broadcast June 27, 1962, 2:18 min.

Piero Manzoni, Künstlerscheiße, from the film 0 x 0 = Kunst: Maler ohne Farbe und Pinsel by Gerd Winkler, Hessischer Rundfunk, first broadcast June 27, 1962, 2:35 min.

Piero Manzoni paints the line, from the film 0 x 0 = Kunst: Maler ohne Farbe und Pinsel by Gerd Winkler, Hessischer Rundfunk, first broadcast June 27, 1962, 3:12 min.

Bernard Aubertin enflames a relief, from the film 0 x 0 = Kunst: Maler ohne Farbe und Pinsel by Gerd Winkler, Hessischer Rundfunk, first broadcast June 27, 1962, 4:04 min.

Hermann Goepfert, from the film 0 x 0 = Kunst: Maler ohne Farbe und Pinsel by Gerd Winkler, Hessischer Rundfunk, first broadcast June 27, 1962, 5:38 min.

Günther Uecker with bow and arrow, from the film 0 x 0 = Kunst: Maler ohne Farbe und Pinsel by Gerd Winkler, Hessischer Rundfunk, first broadcast June 27, 1962, 7:00 min.

Günther Uecker nails a picture, his hands can be seen, from the film 0 x 0 = Kunst: Maler ohne Farbe und Pinsel by Gerd Winkler, Hessischer Rundfunk, first broadcast June 27, 1962, 8:19 min.

Heinz Mack shaping a stele, from the film 0 x 0 = Kunst: Maler ohne Farbe und Pinsel by Gerd Winkler, Hessischer Rundfunk, first broadcast June 27, 1962, 10:39 min.

Claudia and Herbert Piene with the flashlight, from the film 0 x 0 = Kunst: Maler ohne Farbe und Pinsel by Gerd Winkler, Hessischer Rundfunk, first broadcast June 27, 1962, 12:33 min.

Otto Piene with candles under the Rauchzeichnung, from the film 0 x 0 = Kunst: Maler ohne Farbe und Pinsel by Gerd Winkler, Hessischer Rundfunk, first broadcast June 27, 1962, 15:26 min.

Daniel Spoerri in his studio, from the film 0 x 0 = Kunst: Maler ohne Farbe und Pinsel by Gerd Winkler, Hessischer Rundfunk, first broadcast June 27, 1962, 24:05 min.

Robert Filliou visits Daniel Spoerri in his studio, from the film 0 x 0 = Kunst: Maler ohne Farbe und Pinsel by Gerd Winkler, Hessischer Rundfunk, first broadcast June 27, 1962, 25:49 min.

Launch of American space rockets, from the film 0 x 0 = Kunst: Maler ohne Farbe und Pinsel by Gerd Winkler, Hessischer Rundfunk, first broadcast June 27, 1962, 31:13 min.

Press clipping, “Die Stunde Null ” by Helmut Alt, July 8, 1962, published in Neu-Ulmer Zeitung, archive of the ZERO foundation, estate of Otto Piene, inv. no. mkp.ZERO.2.II.16

Lettercard announcing the broadcast of the film by Gerd Winkler, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp.ZERO.1.VII.108

Closing scenes from the film 0 x 0 = Kunst: Maler ohne Farbe und Pinsel by Gerd Winkler, Hessischer Rundfunk, first broadcast June 27, 1962

Portrait photograph of Yves Klein, undated, archive of the ZERO foundation, estate of Heinz Mack, inv. no. mkp. ZERO.1.V.180, photo: unknown

Negative of Yves Klein‘s Anthropometry Barbara (ANT 113), 1960, Kodachrome, archive of the ZERO foundation, estate of Otto Piene, inv. no. mkp. ZERO.2.V.168

Rebecca Welkens during the lecture on Posters, photo: Barbara Könches

Matthieu Poirier during the lecture on Red, photo: Barbara Könches

Astrid Schmidt-Burkhardt during the lecture on Diagrams, photo: Barbara Könches

Jia Liu and Rudolf Frisius during the lecture on Music, photo: Barbara Könches

from left to right: Romina Dümler, Andreas Joh. Wiesand, Regina Wyrwoll, photo: Barbara Könches

Nadine Oberste-Hetbleck during the lecture on Galleries, photo: Barbara Könches

Iwona Bigos during the lecture on Structure, photo: Barbara Könches

from left to right: Anna-Lena Weise, Leonard Merkes, and Ann-Kathrin Illmann present the results of the workshop, photo: Barbara Könches

Participants in the workshop, photo: Barbara Könches

The ZERO-ABC is supported by

The ZERO foundation is supported by

The ZERO foundation is financed by the Department of Culture of the City of Düsseldorf

The ZERO foundation is supported financially and administratively by the Stiftung Museum Kunstpalast.

Heinz Mack, ZERO-Wecker , 1961/Artist15 x 13 x 6 cm, alarm clock with collage, ZERO foundation, Düsseldorf, Invent.-No. mkp.ZERO.2008.12, photo: Horst Kolberg

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ZERO-Kurzbiografie Uli Pohl Der am 28. Oktober 1935 in München geborene Uli Pohl studiert von 1954 bis 1961 bei Ernst Geitlinger Malerei an der Akademie der Bildenden Künste in München. 1961 lädt Udo Kultermann den Absolventen zur Teilnahme an der Ausstellung 30 junge Deutsche im Schloss Morsbroich in Leverkusen ein. An dieser sind auch Heinz Mack, Otto Piene und Günther Uecker beteiligt. Es dauert nicht lange, da wird er in der Zeitschrift ZERO vol. 3 als DYNAMO POHL aufgenommen und von da an gehören seine Werke zu den ZERO-Ausstellungen. Pohls künstlerisches Wahlmaterial war lange Z

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ZERO-Kurzbiografie Adolf Luther Adolf Luther wird am 25. April 1912 in Krefeld-Uerdingen geboren. Er starb am 20. September 1990 in Krefeld. Nach seinem Jurastudium in Bonn, welches er 1943 mit seiner Promotion abschließt, ist er zunächst bis 1957 als Richter in Krefeld und Minden tätig. Bereits während des Krieges beginnt Luther sich mit der Malerei auseinanderzusetzen, zugunsten der er seinen Beruf als Richter aufgibt, und versucht durch gestisch-informelle Malerei traditionelle Strukturen zu überwinden. 1959 entstehen seine ersten ausschließlich schwarzen Materiebilder, dere

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Short ZERO-Biography of Adolf Luther Adolf Luther was born in Krefeld-Uerdingen on April 25, 1912. He died in Krefeld on September 20, 1990. After studying law in Bonn, which he completed with his doctorate in 1943, he initially worked as a judge in Krefeld and Minden until 1957. Already during the war Luther begins to explore painting, in favor of which he gives up his job as a judge, and tries to overcome traditional structures through gestural-informal painting. In 1959 he created his first exclusively black Materiebilder (matter paintings), whose relief protrudes into three

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ZERO-Kurzbiografie Almir Mavignier Almir Mavignier, geboren am 01. Mai 1925 in Rio de Janeiro, Brasilien, gestorben am 03. September 2018 in Hamburg, war Maler und Grafiker. Er studiert ab 1946 Malerei in Rio de Janeiro und malt drei Jahre später bereits sein erstes abstraktes Bild. 1951 zieht er nach Paris und von dort aus weiter nach Ulm, wo er bis 1958 an der Hochschule für Gestaltung bei Max Bill und Josef Albers studiert. In dieser Zeit entstehen seine ersten Punkt-Bilder sowie erste Rasterstrukturen, die seine Verbindung zur Konkreten Kunst aufzeigen. Ab 1958 beteiligt Ma

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Short ZERO-Biography of Almir Mavignier Almir Mavignier, born May 01, 1925 in Rio de Janeiro, Brazil, died September 03, 2018 in Hamburg, was a painter and graphic artist. He studied painting in Rio de Janeiro from 1946 and already painted his first abstract painting three years later. In 1951 he moved to Paris and from there on to Ulm, where he studied at the Hochschule für Gestaltungwith Max Bill and Josef Albers until 1958. During this time he created his first dot paintings as well as his first grid structures, which show his connection to Concrete Art. From 1958 Mavignier partici

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ZERO-Kurzbiografie Christian Megert Christian Megert wird am 06. Januar 1936 in Bern geboren, wo er von 1952 bis 1956 die Kunstgewerbeschule besucht. Bereits 1956 stellt er in seiner ersten Ausstellung in Bern weiß-in-weiß gemalte Strukturbilder aus. Nach Aufenthalten in Stockholm, Berlin und Paris, bei denen er sich international behaupten kann, kehrt er 1960 in die Schweiz zurück. In diesem Jahr macht er Bekanntschaft mit den Künstler*innen der ZERO-Bewegung, an deren Ausstellungen er sich mit Environments, Spiegelobjekten und kinetischen Objekten beteiligt. Christian Megerts primäres künstlerisches Gestaltungsmittel ist der Spiegel, den er bereits zu Beginn seiner Karriere für sich entdeckt und mit dem er den Raum erforscht. In seinem Manifest ein neuer raum (1961) beschwört der Künstler seinen idealen Raum ohne Anfang und Ende. Seit 1973 ist Christian Megerts Domizil Düsseldorf, wo er von 1976 bis 2002 die Professur für Integration Bildende Kunst und Architektur an der Kunstakademie innehat. Weiterführende Literatur: Anette Kuhn, Christian Megert. Eine monographie,Wabern-Bern 1997. Foto: Harmut Rekort, Ausstellung "Christian Megert. Unendliche Dimensionen", Galerie d, Frankfurt, 1963

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Short ZERO-Biography of Christian Megert Christian Megert was born on January 6, 1936 in Bern, where he attended the School of Applied Arts from 1952 to 1956. Already in 1956 he exhibits in his first exhibition in Bern white-in-white painted structural pictures. After residencies in Stockholm, Berlin and Paris, where he was able to establish himself internationally, he returned to Switzerland in 1960. In this year he became acquainted with the artists of the ZERO movement, in whose exhibitions he participated with environments, mirror objects and kinetic objects. Christian Mege

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ZERO-Kurzbiografie Daniel Spoerri Daniel Spoerri, geboren am 27. März 1930 in Galati, Rumänien, studiert zunächst Tanz und ist zwischen 1952 und 1957 als Balletttänzer in Paris und Bern tätig. Bereits 1956 wendet er sich aber allmählich vom Tanz ab, und, nach einer kurzen Episode als Regieassistent, der bildenden Kunst zu. 1959 nimmt er mit seinem Autotheater an der Ausstellung Vision in Motion – Motion in Vision im Antwerpener Hessenhuis teil, an der auch Heinz Mack und Otto Piene beteiligt sind. Viele der späteren ZERO-Künstler beteiligten sich an seiner Edition MAT (1959), d

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Short ZERO-Biography of Daniel Spoerri Daniel Spoerri, born on March 27, 1930 in Galati, Romania, initially studied dance and worked as a ballet dancer in Paris and Bern between 1952 and 1957. As early as 1956, however, he gradually turned away from dance and, after a brief episode as an assistant stage director, toward the visual arts. In 1959 he participates with his Autotheater in the exhibition Vision in Motion – Motion in Vision in the Antwerp Hessenhuis, in which Heinz Mack and Otto Piene are also involved. Many of the later ZERO artists participated in his Edition

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ZERO-Kurzbiografie von Günther Uecker Günther Uecker, geboren am 13. März 1930 in Wendorf, Mecklenburg, lebt und arbeitet in Düsseldorf. Nach einem Studium der angewandten Kunst in Wismar und später in Berlin/Weißensee siedelte er 1953 in die Bundesrepublik Deutschland über. Von 1955 bis 1957 studierte er an der Kunstakademie Düsseldorf, an der er dann von 1974 bis 1995 als Professor tätig wurde. 1958 nahm Günther Uecker an der 7. Abendausstellung „Das rote Bild“ teil, die von Heinz Mack und Otto Piene in der Gladbacher Straße 69 in Düsseldorf organisiert wurde. 1961 beteiligte er sic

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Short ZERO biography of Günther Uecker Günther Uecker was born on 13 March 1930 in Wendorf and lives and works in Düsseldorf. After his studies of applied arts in Wismar and later also in Berlin/Weißensee, Uecker moved to the Federal Republic of Germany in 1953. From 1955 to 1957, he studied at the Kunstakademie (Academy of Arts) Düsseldorf, where he later worked at as a professor from 1974 to 1995. In 1958, Günther Uecker participated in the seventh “Abendausstellung” (evening exhibition), organised by Heinz Mack and Otto Piene at Gladbacher Straße 69 in Düsseldorf and called “D

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ZERO-Kurzbiografie von Heinz Mack Heinz Mack, am 8. März 1931 im hessischen Lollar geboren, lebt und arbeitet in Mönchengladbach und auf Ibiza. Er studierte von 1950 bis 1956 Malerei an der Kunstakademie Düsseldorf, wo er Otto Piene kennenlernte, sowie Philosophie an der Universität zu Köln. 1957 initiierte er zusammen mit Otto Piene die sogenannten „Abendausstellungen“, die jeweils nur für einen Abend in den Atelierräumen der zwei Künstler in der Gladbacher Straße 69 zu sehen waren. 1958 gründete Heinz Mack mit Otto Piene die Zeitschrift „ZERO“, die einer ganzen internationalen Kunst

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Short ZERO biography of Heinz Mack Heinz Mack was born on 8 March 1931 in Lollar in Hesse and currently lives and works in Mönchengladbach and Ibiza. From 1950 to 1956, he studied the art of painting at the Kunstakademie [Academy of Arts] in Düsseldorf, where he met Otto Piene, as well as philosophy at the University of Cologne. In 1957, Mack, together with Piene, initiated the so-called “Abendausstellungen” [Evening exhibitions], which were only on display for one evening respectively. The exhibitions could be viewed inside the studio space of the two artists, located at Gladbacher S

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Otto Piene, Sketch for the slide installation “Lichtballett ‘Hommage à New York'” , 1966Inv.-Nr.: mkp.ZERO.2.IV.90, Nachlass Otto Piene, ZERO foundation, Düsseldorf Otto Piene conceived the "Li...

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Otto Piene, Entwurf für die Dia-Installation „Lichtballett ‚Hommage à New York'“ , 1966Inv.-Nr.: mkp.ZERO.2.IV.90, Nachlass Otto Piene, ZERO foundation, Düsseldorf Otto Piene konzipierte das "L...

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Kurzbiografie Nanda Vigo Nanda Vigo, am 14. November 1936 in Mailand geboren und am 16. Mai 2020 ebenda gestorben, war Designerin, Künstlerin, Architektin und Kuratorin. Nachdem sie einen Abschluss als Architektin am Institut Polytechnique, Lausanne, sowie ein Praktikum in San Francisco absolvierte, eröffnet sie 1959 ihr eigenes Studio in Mailand. In diesem Jahr beginnen ihre Besuche in Lucio Fontanas Atelier und sie lernt Piero Manzoni und Enrico Castellani kennen. Zudem reist sie für verschiedenste Ausstellungen durch Europa und lernt so die Künstler*innen und Orte der ZERO-Bewegung in Deu

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Short ZERO-Biography of Nanda Vigo Nanda Vigo, born in Milan on November 14, 1936, where she died on May 16, 2020, was a designer, artist, architect and curator. After graduating as an architect from the Institut Polytechnique, Lausanne, and an internship in San Francisco, she opened her own studio in Milan in 1959. In this year her visits to Lucio Fontana’s studio begin and she meets Piero Manzoni and Enrico Castellani. She also travels through Europe for various exhibitions and gets to know the artists and places of the ZERO movement in Germany, France and Holland. In 1

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Short ZERO-Biography of Oskar Holweck Oskar Holweck was born in St. Ingbert, Saarland, on November 19, 1924, and died there on January 30, 2007. Except for a few years of study in Paris, he remained loyal to the Saarland. He taught at the State School of Arts and Crafts and at the State School of Applied Arts in Saarbrücken. He turned down appointments at other art schools and invitations to the documenta exhibitions of 1959 and 1972. However, he takes part in the numerous exhibitions of the ZERO group. From 1958 on, he exhibited with its protagonists all over the world. At the begin

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ZERO-Kurzbiografie Oskar Holweck Oskar Holweck wurde am 19. November 1924 in St. Ingbert im Saarland geboren und ist am 30. Januar 2007 ebenda verstorben. Bis auf einige Studienjahre in Paris bleibt er dem Saarland treu. Er lehrt an der Staatlichen Schule für Kunst und Handwerk sowie an der Staatlichen Werkkunstschule in Saarbrücken. Berufungen an andere Kunstschulen und Einladungen zu den documenta-Ausstellungen von 1959 und 1972 lehnt er ab. An den zahlreichen Ausstellungen der ZERO-Gruppe nimmt er aber teil. Ab 1958 stellt er mit ihren Protagonist*innen in der ganzen Welt aus. Zu

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ZERO-Kurzbiografie von Otto Piene Otto Piene wurde am 18. April 1928 in Laasphe (Westfalen) geboren und starb am 17. Juli 2014 in Berlin. Nach zwei Jahren in München studierte er von 1950 bis 1957 Malerei an der Kunstakademie Düsseldorf sowie Philosophie an der Universität zu Köln. 1957 initiierte Otto Piene zusammen mit Heinz Mack, den er an der Kunstakademie kennengelernt hatte, die sogenannten „Abendausstellungen“, die jeweils nur für einen Abend in den Atelierräumen der zwei Künstler in der Gladbacher Straße 69 zu sehen waren. 1958 gründete er mit Heinz Mack die Zeitschrift „ZERO“

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Short ZERO biography of Otto Piene Otto Piene was born on 18 April 1928 in Laasphe (Westphalia) and died on 17 July 2014 in Berlin. After spending two years in Munich, he studied the art of painting at the Kunstakademie [Academy of Arts] in Düsseldorf from 1950 to 1957, as well as philosophy at the University of Cologne. In 1957, Otto Piene, together with Heinz Mack, initiated the “Abendausstellungen”, which were only on display for one evening respectively. The artists had met in the Kunstakademie and the exhibitions could be viewed in their joint studio space, located at Gladbacher

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Heinz Mack, Rotor für Lichtgitter , 1967Rotor: 141,5 x 141,5 x 25 cm, Sockel: 60 x 125 x 35 cm, Aluminium, Plexiglas, Spanplatte, Motor, ZERO foundation, Düsseldorf, Invent.-Nr. mkp.ZERO.2009.03, Foto: Weiss-Henseler

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Heinz Mack, Rotor für Lichtgitter, 1967, rotor: 141,5 x 141,5 x 25 cm, base: 60 x 125 x 35 cm, aluminum, acrylic glass, wood (chipboard), motor, ZERO foundation, Düsseldorf, Invent.-No. mkp.ZERO.2009.03, photo: Weiss-Henseler

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Günther Uecker, Sandmühle, 1970/2009, 50 x 60 x 400 (dia) cm, cords, wood, electric motor, sand, ZERO foundation, Düsseldorf, Invent.-No. mkp.ZERO.2008.66, photo: ZERO foundation, Düsseldorf and Pohang Museum of Steel Art, Pohang

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Günther Uecker, Sandmühle , 1970/200950 x 60 x 400 (dia) cm, Bindfäden, Holz, Elektrikmotor, Sand, ZERO foundation, Düsseldorf, Invent.-Nr. mkp.ZERO.2008.66, Foto: ZERO foundation, Düsseldorf and Pohang Museum of Steel Art, Pohang

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Heinz Mack, Siehst du den Wind? (Gruß an Tinguely), 1962, 204 x 64 x 40 cm, Aluminium, Eisen, Elektrik, Motor, Kunststoffbänder, Klebeband, ZERO foundation, Düsseldorf, Invent.-Nr. mkp.ZERO.2008.16, Foto: N.N.

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Heinz Mack, Siehst du den Wind? (Gruß an Tinguely), 1962, 204 x 64 x 40 cm, aluminum, iron, electrical system, motor (220 V), plastic ribbons, tape, ZERO foundation, Düsseldorf, Invent.-No. mkp.ZERO.2008.16, photo: N.N.

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Günther Uecker, Sintflut (Die Engel Fliegen), 1963, 89 x 62.5 cm (framed: 102 x 72.5 cm), b/w photographic prints, newspaper clippings, handmade paper, ZERO foundation, Düsseldorf, inventory no.: FK.ZERO.2023.03, photo: Matias Möller

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Günther Uecker, Sintflut (Die Engel Fliegen), 1963, 89 x 62,5 cm (gerahmt: 102 x 72,5 cm), SW-Fotoabzüge, Zeitungsausschnitte, Büttenpapier, ZERO foundation, Düsseldorf, Invent.-Nr.: FK.ZERO.2023.03, Foto: Matias Möller

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Short ZERO-Biography of Uli Pohl Born in Munich on October 28, 1935, Uli Pohl studied painting under Ernst Geitlinger at the Academy of Fine Arts in Munich from 1954 to 1961. In 1961, Udo Kultermann invites the graduate to participate in the exhibition 30 junge Deutsche (30 Young Germans) at Morsbroich Castle in Leverkusen. Heinz Mack, Otto Piene and Günther Uecker are also involved in this. It is not long before he is included in the magazine ZERO vol. 3 as DYNAMO POHL and from then on his works are part of the ZERO exhibitions. Pohl’s artistic material of choice has for a lon

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ZERO-Kurzbiografie Walter Leblanc Walter Leblanc, geboren am 26. Dezember 1932 in Antwerpen, gestorben am 14. Januar 1986 in Brüssel, studierte von 1949 bis 1954 an der Königlichen Akademie für Schöne Künste in Antwerpen. 1958 wird er zu einem der Gründungsmitglieder der Künstlergruppe G58 Hessenhuis. Ein Jahr später taucht das erste Mal die Torsion als Gestaltungsmittel in seinen Werken auf, die zu dem bestimmenden Merkmal seiner Kunst wird. Mithilfe von Windungen und Verdrehungen von Papier, Karton oder Fäden werden dreidimensionale Strukturen geschaffen, die auch in skulptur

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Short ZERO-Biography of Walter Leblanc Walter Leblanc, born December 26, 1932 in Antwerp, died January 14, 1986 in Brussels, studied at the Royal Academy of Fine Arts (Königliche Akademie für Schöne Künste) in Antwerp from 1949 to 1954. In 1958 he became one of the founding members of the artist group G58 Hessenhuis. A year later, torsion appeared for the first time as a design element in his works, and it became the defining characteristic of his art. With the help of twists and turns of paper, cardboard or threads, three-dimensional structures are created, which are also tran

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Otto Piene, Weißer Lichtgeist , 1966220 x Ø 60 cm, crystal glass, metal, bulb, timer, ZERO foundation, Düsseldorf, Invent.-No. mkp.ZERO.2012.06, photo: Marcus Schwier

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Otto Piene, Weißer Lichtgeist, 1966, 220 x Ø 60 cm, Kristallglas, Metall, Glühbirnen, Zeitschaltung, ZERO foundation, Düsseldorf, Invent.-Nr. mkp.ZERO.2012.06, Foto: Marcus Schwier

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Heinz Mack, ZERO-Rakete für „ZERO“, Nr. 3, 1961, Inv.-Nr.: mkp.ZERO.2.VI.30, Nachlass Otto Piene, ZERO foundation, Düsseldorf

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Heinz Mack, ZERO rocket for “ZERO”, no. 3, 1961, Inv.-Nr.: mkp.ZERO.2.VI.30, Nachlass Otto Piene, ZERO foundation, Düsseldorf

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Heinz Mack, ZERO-Wecker, 1964, 15 x 13 x 6 cm, Wecker mit Collage, ZERO foundation, Düsseldorf, Invent.-Nr. mkp.ZERO.2008.12, Foto: Horst Kolberg

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