Qwertzuiopu
Timm Ulrichs
1968
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For his relatively recent retrospective at the Philara Collection in Düsseldorf, Ulrichs was described as a language fetishist and a humorous provocateur. This early publication from 1968 already reveals the breadth and wit of this ...
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Qwertzuiopu
Timm Ulrichs
1968
Hannover: Self-published
Unpaginated [122 pages]
30.4 × 21.2 cm

For his relatively recent retrospective at the Philara Collection in Düsseldorf, Ulrichs was described as a language fetishist and a humorous provocateur. This early publication from 1968 already reveals the breadth and wit of this approach, skillfully staging a sort of post-mortem catalogue of the artist through collages, typed texts (including a psychological text he composed), stickers, exhibition leaflets, and other ephemera. Among the papers gathered in this opuscule is also a death certificate.


 


For Ulrichs, life and art are inseparable, each constantly folding into the other: “Art is life, life is art,” reads one of the posters included in this assemblage. Self-proclaimed a total artist, Ulrichs made mortality a recurring subject of his practice, producing gravestones, funerary monuments, and other works that confront the rituals and symbolism of death. One of these bears the inscription: “Always remember to forget me.”

Hannover: Self-published
Unpaginated [122 pages]
30.4 × 21.2 cm

For his relatively recent retrospective at the Philara Collection in Düsseldorf, Ulrichs was described as a language fetishist and a humorous provocateur. This early publication from 1968 already reveals the breadth and wit of this approach, skillfully staging a sort of post-mortem catalogue of the artist through collages, typed texts (including a psychological text he composed), stickers, exhibition leaflets, and other ephemera. Among the papers gathered in this opuscule is also a death certificate.

 

For Ulrichs, life and art are inseparable, each constantly folding into the other: “Art is life, life is art,” reads one of the posters included in this assemblage. Self-proclaimed a total artist, Ulrichs made mortality a recurring subject of his practice, producing gravestones, funerary monuments, and other works that confront the rituals and symbolism of death. One of these bears the inscription: “Always remember to forget me.”

DESCRIPTION

For his relatively recent retrospective at the Philara Collection in Düsseldorf, Ulrichs was described as a language fetishist and a humorous provocateur. This early publication from 1968 already reveals the breadth and wit of this approach, skillfully staging a sort of post-mortem catalogue of the artist through collages, typed texts (including a psychological text he composed), stickers, exhibition leaflets, and other ephemera. Among the papers gathered in this opuscule is also a death certificate.

 

For Ulrichs, life and art are inseparable, each constantly folding into the other: “Art is life, life is art,” reads one of the posters included in this assemblage. Self-proclaimed a total artist, Ulrichs made mortality a recurring subject of his practice, producing gravestones, funerary monuments, and other works that confront the rituals and symbolism of death. One of these bears the inscription: “Always remember to forget me.”

Hannover: Self-published
Unpaginated [122 pages]
30.4 × 21.2 cm

For his relatively recent retrospective at the Philara Collection in Düsseldorf, Ulrichs was described as a language fetishist and a humorous provocateur. This early publication from 1968 already reveals the breadth and wit of this approach, skillfully staging a sort of post-mortem catalogue of the artist through collages, typed texts (including a psychological text he composed), stickers, exhibition leaflets, and other ephemera. Among the papers gathered in this opuscule is also a death certificate.

 

For Ulrichs, life and art are inseparable, each constantly folding into the other: “Art is life, life is art,” reads one of the posters included in this assemblage. Self-proclaimed a total artist, Ulrichs made mortality a recurring subject of his practice, producing gravestones, funerary monuments, and other works that confront the rituals and symbolism of death. One of these bears the inscription: “Always remember to forget me.”

MORE BOOKS

For his relatively recent retrospective at the Philara Collection in Düsseldorf, Ulrichs was described as a language fetishist and a humorous provocateur. This early publication from 1968 already reveals the breadth and wit of this approach, skillfully staging a sort of post-mortem catalogue of the artist through collages, typed texts (including a psychological text he composed), stickers, exhibition leaflets, and other ephemera. Among the papers gathered in this opuscule is also a death certificate.

 

For Ulrichs, life and art are inseparable, each constantly folding into the other: “Art is life, life is art,” reads one of the posters included in this assemblage. Self-proclaimed a total artist, Ulrichs made mortality a recurring subject of his practice, producing gravestones, funerary monuments, and other works that confront the rituals and symbolism of death. One of these bears the inscription: “Always remember to forget me.”

MORE BOOKS