1989 View points on German art, Muse ́e d’Art Contempor-
ain, Montreal, Quebec, Canada
1990 Um 1968, Konkrete Utopien in Kunst und Gesellschaft;
Kunsthalle Du ̈sseldorf, Dusseldorf, Germany
1994 Hors limites, l’art et la vie; Centre Georges Pompidou,
Paris, France
1996 Face a`l’histoire; Centre Georges Pompidou, Paris,
France
1997 Made in France, Centre Georges Pompidou, Paris;
Deutschlandbilder, Martin-Gropius-Bau, Berlin
1998 Out of Actions: Between Performance and Objects,
1949–1979; Museum of Contemporary Art; Los Angeles,
California
Premises: Invested Spaces In Visual Arts and Architec-
ture from France 1958–1998; Solomon R. Guggenheim
Museum; New York, New York
1999 Das 20. Jahrhundert (The Century Exhibition); Natio-
nalgalerie, Berlin
2000 Das Geda ̈chtnis der Kunst (The Memory of Art);
Schirn Kunsthalle, Frankfurt, Germany
Selected Works
Exposition de huit personnes habitant la rue Mouffetard,
Paris (Exhibition of eight persons residing Mouffetard
road in Paris), 1972
F/T 7, 1973
De L’Art n1 (About Art n1), 1982–1983
Monument against Fascism, Harburg, 1986
In the Art Nite, 1989
Bremen Questionnaire, Bremen, 1990
2,146 Stones Monument Against Racism, Saarbru ̈cken,
1990–93
The Living Monument, Biron, 1997Further Reading
Deecke, Thomas, Doris Van Drathen, Peter Snoddy, and
Andreas Vowinckel.Jochen Gerz: Life after Humanism.
Art Books Intl. Ltd., 1998.
Gerz, Jochen. Life after Humanism. Stuttgart: Edition
Cantz, 1992.
Gerz, Jochen.Jochen Gerz: People Speak. Vancouver: Van-
couver Art Gallery, 1994.
Holmes, Willard. ‘‘Here our look sees itself.’’Parachute60/
1990, Montreal.
Pejic, Bojana. ‘‘Art ex Absentia.’’Artforum(April 1990), New York.
Rosen, Myriam. ‘‘The emporer’s new monument.’’Art-
forum3/ (1992), New York.
Schmidt, Hans-Werner et al.Jochen Gerz, Res Publica, The
Public Works 1968–1999. Stuttgart: Verlag, 1999.
Young, James. ‘‘German’s Memorial Question: Memory,
Counter-Memory, and the End of the Monument.’’ In
Martin Morris (Hg.),German Dis/Continuities. Durham,
North Carolina: Duke University Press, 1998.MARIO GIACOMELLI
Italian
Mario Giacomelli is one of Italy’s most prominent
photographers, and among the best-known photo-
graphers of the twentieth century. His deeply huma-
nistic photography focused, in the most part, on his
native country, although he created notable series on
the pilgrimage site of Lourdes, France, and he docu-
mented the 1974 famine in Ethiopia. In 1955, he was
discovered in Italy by the Italian photographer Paolo
Monti, and, beginning in 1963, he became renown in
the United States through John Szarkowski of the
Museum of Modern Art, New York, where Szar-
kowski presented a series calledScanno,andthen
later incorporated an image of the photographer in
his famous bookLooking at Photographs(1973).
Born in 1925 in the seaport town of Senigallia in
the Marche region of central Italy, Giacomelli grew
up in a modest family. When he was nine, his father
died. From that time, he dedicated himself to poetry
and painting. At the age of 13, he started working
for a printer. After 1953, Giacomelli was taking
photographs around the area with a Comet Bencini,
at the time a very popular camera. The following
year, as a self-taught photographer, he joined the
photography group Misa founded by Giuseppe
Cavalli in Senigallia. Also in the group at its be-
ginning were Vincenzo Balocchi, Ferruccio Fer-
roni, Pier Giorgio Branzi, Paolo Bocci, and Silvio
Pellegrini. Although Cavalli was a formalist who
preferred aesthetically composed photographs in
gradients of light gray, Giacomelli, whose later
work displayed similarly sharp contrasts, profited
from his experience with Cavalli. Over the next few
years, Cavalli readied the members of Misa to join
the photography group La Bussola, which he had
founded in 1947 with Ferruccio Leiss, Mario Finazzi,
Federico Vender, and Luigi Veronesi. The formalist
style during these years stood in contrast to the neo-
realists, who, during the postwar period, were begin-GERZ, JOCHEN