The Edizioni Conz Raum showcases selected works and editions from the Archivio Conz in the city. A series of Guided Tours and performance projects by artists will activate the presentations throughout the year. The Edizioni Conz Raum shares its spaces with Outset Germany/ Switzerland in the premises of Kunstwerke Berlin and is open from Wednesday-Friday from 11-6pm and Saturday by appointment.

Sari Dienes 'S' as in Sugar, 'A' as in Art
14.09. - 02.11.2019

[…] Dick Higgins, many years back, was the very first person to talk to me about Sari Dienes and to tell me that I ought to publish her work. Ben Patterson was kind enough to take me to visit her, twice, which gave me the chance the see her work and to start on my way a first understanding of the myriad gestures that coalesce in her highly complex world. Rip Hayman, finally, was to help me to get to know her better, pointing the way to a firmer grasp of her works, and guiding my relationship with Sari, whom it isn’t always easy to deal with. His patience and devotion have made this miracle possible […]

Francesco Conz

[…] Sari Dienes has often been compared to artists like Louse Nevelson, Robert Rauschenberg, Jasper Johns and Joseph Cornell, and those who have written about her work have often expressed surprise , or even dismay, that she has never been the object of a similar level of acclaim:surprise because it seems unfair, dismay since the Neo-Dada precursors of Pop Art, as well as many others, readily admit their indebtedness to her work. The explanation most often advanced is that Sari Dienes has simply done too much, and worked in too many fields, thus denying her work an easy coherence or a simple recognizability. She has no trade-mark. She is an excellent draughtsman who has also worked with junk and found objects, assemblage and collage, wood, ceramics, glass and clay. She has made colorful paintings on fields full of snow and taken photos of the way they melt; she has likewise made open air sculptures of earth and rocks and indoor mobiles made of human and animal bones. She has scorched canvases with fire and lit them from behind with colored lights; she has made sculptures that emanate sounds […]

John Cage speaks of the “religious spirit” as essential to the life and work of Sari Dienes, and he points to its presence in the attitude of constant experimentation that runs through her work as a whole.

Henry Martin

[…] My love for Bartok came quite naturally. Therefore I was overjoyed when Sari Dienes told me she knew Bartok rather well in New York in the war years. It certainly deepened the appreciation of Sari’s art work tremendously. Sari Dienes existed next to John Cage, as Bartok existed next to Schoenberg…, sometimes a little overshadowed, yet always asserting her independence. You compare the violin concert of Bartok and that of Schoenberg. One is intellectual and bony, the other is full of sorrow and meat – that is vitality. Asd tubercolosis was an asset for Chopin, vitality is an asset for Sari. This contagious happiness invaded our art and bodies […]

Nam June Paik

Sari Dienes (Debreczen, Hungary, 1898 – New York, US, 1992)
Sari Dienes’ impressive career spanned over 60 years. She worked with a large range of mediums such as ceramic, textile design, sound installation, drawing, printing, set and costume for theatre, performance and painting. Pioneer of the assemblage movement, Dienes’ compositions essentially consist of natural and manmade detritus and found objects. She actively used her direct urban surrounding as a tool, noticeably with her large scale “Sidewalk Rubbing” between 1953 and 1955. Dienes was also a close collaborator of Fluxus artists such as Yoko Ono, Nam June Paik and Charlotte Moorman, taking part in several of their performances and festivals. Close to the Abstract Expressionism since the beginning, she remained related to personalities such as John Cage and Robert Rauschenberg and Jasper Johns. Introduced by their common friend Ben Patterson, Conz and Dienes met at her studio in 1987. Marked by Dienes’ personality and achievements, Conz proposed to exhibit her works in Europe, which had them collaborate until Dienes’ death.

More about Sari Dienes here.

"Spielplatz" : Works and fetish from Archivio Conz by Michel Morris and Vincent Trasov
21.06. - 30.08.2019

The Archivio Conz is happy to present, in the premises of the Edizioni Conz Raum, “Spielplatz” an exhibition of works and fetish material by Michael Morris and Vincent Trasov from the collection of Francesco Conz.

Since the late 70’s Morris and Trasov started a long friendship with the Italian col- lector, characterized by productive residencies in Asolo and Verona and an important development of ideas, works and collaborations that lasted until Conz died in 2010.

In these days that Morris and Trasov are back in Berlin with the Image Bank show at Kunst-Werke, the Archivio Conz joined forces showing a selection of material that celebrates their history with Conz as well with the city of Berlin where the two Canadian artists lived for many years.

Founded in 1969 by Michael Morris and Vincent Trasov, the Image Bank helped facilitate the exchange of ideas, images and information between artists through the use of the postal system. Image Bank compiled and printed address and image re- quests lists that were sent to participants through the mail creating an open ended decentralized method of networking. The possibilities inherent in this kind of activity are limited only by the imagination so it is not hard to draw parallels between the pioneering work of the Image Bank and the later development of e-mail and the internet.

Michael Morris (Saitdean, UK, 1942).
Michael Morris is an interdisciplinary artist who, alongside being a key figure of Canadian avant-garde in the 1960s, contributed to the acknowledgement of Fluxus in Canada. In 1969 he created with Vincent Trasov the “Image Bank”, a system of postal correspondence between participating artists for the exchange of information and ideas. Later in 1973 Morris funded one of Canada’s first artist-run centres, the “Western Front”. To this day Morris is a strong advocate for art profusion in his country.

More about Michael Morris here.

Daniel Spoerri "Eggcyklopaedia"
26.04. - 15.06.2019

When she asks him about the egg over lunch in Vienna, he says it started with language like everything he’s done. He started by circling the word egg in every book he read and then writing down the sentences around it. “When I started collecting variations all the different elements just started appearing, so I gathered them, later friends added elements and the collection evolved.” A waiter comes to take their order and she remembers walking through Spoerri’s many assortments of things, small porcelain heads, wooden walking poles, metal frogs, furry masks. Variations, he says, every variation of a thing teaches him something about the thing and then about himself. Assortments of curiosities she thinks and how they continue to tell stories about the circle of life. Daniel Spoerri creates art out of found objects that lose their function as soon as he integrates them into his works, leave their old life to start a new one. “That was one of the few pieces Conz actually collected, in a classical way, normally he was doing things differently than anyone I knew, (he smiles).” Plates come and other are taken away. “And when did you know it was finished?” “It was never finished, you just stop. Would you like another glass of wine?”
An extract from a conversation between Yael Salomonowitz and Daniel Spoerri


Daniel Spoerri (Galați, Romania, 1930, lives and works and Vienna, Austria) is a Swiss artist and writer. Spoerri is best known for his “snare-pictures,” in which he captures a group of objects, such as the remains of meals eaten by individuals, including the plates, silverware and glasses, all of which are fixed to the table or board, which is then displayed on a wall. Spoerri was one of the original signers of the Nouveau Réalisme (New Realism) manifesto and is closely associated with the Fluxus movement. He was a close friend and collaborator of Conz, produced various editions with him and largely contributed to Conz’s so-called Fetish collection, every day objects turned into art, without alteration, elevated by the action of the artist’ choice.

More about Daniel Spoerri here

Emmett Williams “Fluxus Cathedral”
21.02. - 28.04.19

For the Stained-glass Windows of the Fluxus Cathedral:

…All these funny little people, who are they, where do they come from, and where are they going? I don’t think they are self-portraits, although they do creep into a lot of my works. They have been keeping me company as far back as I can remember, even as a child, ever-present doodles dancing in and out of a kind of automatic drawing.
They have danced their permutational dance on a mountaintop in Japan, on wooden wheels carved by native craftsmen in Kenya, at a Fluxus festival in Korea, on real stained glass in Verona, in a variety of prints and paintings, and here they are in the black marble hall of the former Imperial Castle in Poznan. Keep going, little fellows, and who knows where you’ll end up. In a real cathedral, maybe, some day.

—Emmett Williams Berlin, 1991

“Emmett Williams uses humour and mock seriousness with an underlying serious intent in a way that is characteristic of Fluxus performance.
His participation in Fluxus group activities and collaborative projects started in the late 1950s. Maciunas proposed Fluxus as a complex of different approaches to art, music and poetic practice, evident before this in the work of Marcel Duchamp. These involved chance operations, influenced by Duchamp and composer John Cage, for example in the first ‘happening’, and the ideas of gesture proposed by writer Antonin Artaud. For Emmett Williams ‘Fluxus simply provided a forum, free from the entanglements of the art establishment’, in which many artists could demonstrate their works in the company of kindred spirits.” 1

Emmett Williams (Greenville, US, 1925 – Berlin, DE, 2007)
Emmett Williams was an American poet and visual artist. He was married to British visual artist Ann Nöel. Williams spent most of his later life in Europe. His highly productive oeuvre finds form in written and performative expressions. He translated and “reanecdoted” Daniel Spoerri’s “Topographie anecdotée du hasard” (An Anecdoted Topography of Chance), collaborated with Claes Oldenburg on Store Days, and edited An Anthology of Concrete Poetry, all published by the Something Else Press, which was owned and managed by fellow Fluxus artist Dick Higgins. From the mid-1960s through the early 1970s Williams was editor in chief of the Something Else Press. Francesco Conz and Williams were friends and collaborators for more than thirty years and produced numerable editions and works together in Asolo and Verona.

1. Allen Fisher, ‘A Matter of For and Against: Emmett Williams and Porter’s Wrinkle’, in Sophie Halart (ed.), In Focus: Wrinkle 1968 by Liliana Porter, Tate Research Publication, 2018.

More about Emmett Williams here

Eugen Gomringer (unikat and editions)
15.01. - 16.02.19

Archivio Conz and Outset Germany_Switzerland are pleased to announce the opening of Edizioni Conz in the joint premises of Kunst-Werke Berlin. In 2019, Archivio Conz will present select works and editions that will be the focus of a series of exhibitions. In this way, the extraordinary oeuvre of Francesco Conz will be made accessible to the general public.

Archivio Conz houses works of art, documents, editions and personal exhibits collected by Francesco Conz (Cittadella, 1935–Verona, 2010) over a period of more than 30 years, first in his house in Asolo and later in the Secret Museum outside Verona. Conz, who was far more than just a collector, worked closely together with the artists of the most important avant-garde movements of his time, including Fluxus, Viennese Actionism and concrete poetry. He left behind a collection of more than 3,000 objects by over 150 artists, which are now archived in Charlottenburg.

The main focus now is not only on documenting and cataloguing all the works in the archive, but also on reconnecting them with the stories of their past and the realities they may represent in the future. The archive in Charlottenburg can be visited upon appointment. A selection of editions is available for sale ( In 2018, Archivio Conz and Supportico Lopez held a series of events together with the Berlin Performance Agency at various locations in the city, inviting contemporary artists to re-examine the material at hand.

Archivio Conz is now expanding its manifold activities in Berlin and is opening Edizioni Conz at Kunst-Werke Berlin from 15 January 2019 onwards. The first exhibition will present select editions and unique works by one of the fathers of concrete poetry, Eugen Gomringer (born on 20 January 1925 in Cachuela Esperanza, Bolivia). Conz and Gomringer shared a long friendship and many forms of collaboration. Today, Gomringer lives in Rehau, Bavaria, where he heads the Institute for Constructive Art and Concrete Poetry (IKKP).

Thanks to this event in collaboration with Archivio Conz, art will be publicly exhibited for the first time in the premises of Outset Germany_Switzerland. This emphasises Outset’s role as a constant and committed partner in contemporary art and culture. Since its founding as a non-profit organisation in London in 2003 by Candida Gertler and Yana Peel, Outset has promoted contemporary art, artists and cultural institutions worldwide. Outset is unique in this mediating role: there is no comparable organisation that passes on both private and institutional funds to the recipients without any deductions, thus enabling new art to be purchased or created for the general public.

More about Eugene Gomringer here