Bøger i Zeitgenössische Kunst serien

Seit dem Jahr 2000 findet während der Art Basel, der weltweit wichtigsten Messe für zeitgenössische und moderne Kunst, Unlimited statt. Unlimited ist die innovative Plattform für großformatige Kunstprojekte, die die Maßstäbe des klassischen Messestandes sprengen - und sich bei Sammler*innen und Publikum großer Beliebtheit erfreuen. Kuratiert von Giovanni Carmine versammelt Unlimited 2023 Arbeiten von über 70 Künstlerinnen und Künstlern. In einer gigantischen, 17.000 Quadratmeter großen Halle werden überdimensionale Kunstwerke, Video-Projektionen, großformatige Installationen und Live-Performances gezeigt. Die aktuelle Ausgabe von Unlimited verspricht - wie ihre Vorgänger - einiges Aufsehen zu erregen. Im Katalog werden alle beitragenden Künstler*innen und ihre präsentierten Werke vorgestellt.

It is estimated that, as a result of climate change, illegal trade, and habitat loss from the encroachments of technology and industrialization, as many as one in eight species of birds is heading towards extinction. Created in close collaboration between Sean Scully and Kelly Grovier, each pairing of poem and drawing is devoted to the beauty and mystery of an individual species of bird. Scully's visual language, at once measured and impassioned, geometric and free-flowing, captures the essence of creatures that are, themselves, on the brink of becoming mere abstractions. Though his first series of iPhone drawings are consistent with his signature style, they reveal a fresh intimacy, playfulness, and exhilaration of gesture, color, and form that is in accord with the wonder of feathered flight. Created on a digital device, the drawings are, as Scully remarked, the ironic embodiment of "technology which is ruining nature turned inside out to protest its demise." Yet taken together, these duets aim to offer something uplifting in the face of an accelerating tragedy. "Hope" is, after all as Emily Dickinson famously wrote, "the thing with feathers / That perches in the soul."Having developed a style over the past five decades that is uniquely his own, SEAN SCULLY (*1945, Dublin) is one of the world's most acclaimed contemporary artists. He is known for his large-scale abstract sculptures, installations and paintings, comprised of vertical and horizontal color bands, blocks and geometrical forms as well as his intellectually engaging writings and lectures.KELLY GROVIER is a poet and cultural critic. Educated at the University of California, Los Angeles and at the University of Oxford, he is a feature writer for BBC Culture and co-founder of the international scholarly journal European Romantic Review.

Filip Markiewicz sees the Ultrasocial Pop project as a total work of art in which music,theater and fine arts penetrate and overlap each other. The ensemble of works producedfor the various exhibition locations is organized in the form of a visual essay, which in itsnon-linear form is based on the continuous changes occurring in social media news feeds.FILIP MARKIEWICZ (*1980, Esch/Alzette, Luxembourg) is a visual artist who works with various media, such as painting, drawing, video and installation. Under the name RAFTSIDE, he has also been active as a composer for film and theater since 1999. In 2015 Markiewicz represented Luxembourg at the 56th Venice Biennale.

Since its beginnings in Paris in the mid-19th century, the idea of bohemia, an urban community of artists and intellectuals living outside bourgeois norms, has been a potent trope of artistic identity. It was here that the notion of an unconventional, free-spirited life, precarious yet filled with idealism, was codified and romanticized. Bohemia: History of an Idea, 1950 - 2000 shows the continuities and differences between the scenes and subcultures of the second half of the twentieth century, when the mainstream began to appropriate and thereby erode a way of life predicated on its rejection. Nonetheless, as an alternative to conformity the bohemian idea has exerted an enduring fascination. Through works by 39 artists, including Alice Neel, PeterHujar, John Deakin, David Wojnarowicz, Ed van der Elsken, Robert Frank and Alfred Leslie, William Gedney, LibuSe Jarcovjáková, Nan Goldin, Zhang Huan and Wolfgang Tillmans, the publication explores the diversity of expressions in various cities in Europe, North America and Asia and shows that the bohemian idea continues to galvanize and inspire.RUSSELL FERGUSON is a research professor at the University of California's Art Department. During his tenure at the Museum of Contemporary Art and the Hammer Museum in Los Angeles, he curated numerous exhibitions on culture and representation in contemporary art and photography.

Jakub Julian Ziólkowski's vibrant works are bizarre and alluring. In his wild, surreal cosmos of mutant humans, organic forms and circulatory systems, the Polish painter mixes cultural symbols, the decorative and the fantastical. Juxtaposing the spiritual and the microscopic, he creates a universe bristling with detail and a kaleidoscope of references-from Hiernoymos Bosch visions of heaven and hell and James Ensor's grotesque allegories to Philip Guston.Yet, his paintings show a highly personal world that is populated by a recurring cast of characters. This publication is the first comprehensive overview of his work from 2005 to the present, giving insights into his artistic practice in different media: from painting to sculpture, ceramics as well as drawing. The book includes essays by Olga Tokarczuk, winner of the Nobel Prize in Literature and Cecilia Alemani, curator of the 59. Venice Biennale, an in-depth interview with the artist, as well as texts by philosopher Kajetan Mlynarski and psychologist Bartlomiej Dobroczynski.JAKUB JULIAN ZIÓLKOWSKI (*1980, Zamosc, Poland) is one of the most eminent Polish contemporary painters. He trained at the Jan Matejko Academy of Fine Arts in Kraków, where he lives and works today. Since 2003, his work has been shown in numerous group and solo exhibitions, including Hauser & Wirth, London (2017), Neues Museum Nürnberg (2017), and the 55. Biennale di Venezia (2013).

Von Nutella und Penaten-Creme über Produkte aus dem Hygienebereich bis hin zu einem ausrangierten Wohnwagen oder alten Kühlschränken - Produkte industrieller Massenproduktionen bilden eine Grundlage für die skulpturalen Werke von Thomas Rentmeister. Seine körperbezogenen, minimalistischen Skulpturen und Installationen kombinieren Ästhetisches und Abstoßendes auf unlogische Weise. Damit, ebenso wie mit dem Einsatz teils absurd großer Materialmengen, formuliert er spielerisch einen - teils humorvollen - Gesellschaftskommentar, der visuellen wie thematischen Anlass dazu liefert, neu über die Dinge nachzudenken, die uns im Alltag umgeben.Der Katalog bietet einen guten Werküberblick, mit neuen Arbeiten seit der letzten großen Publikation von 2011. Die Texte von Anna Mosemann und Hendrik Bündge sowie ein Interview mit dem Künstler öffnen neue Perspektiven auf Rentmeisters Werk.THOMAS RENTMEISTER (*1964) arbeitet in den Bereichen Skulptur und Installation. Seit 2007 ist er Professor an der HBK Braunschweig. Seine Arbeiten sind in zahlreichen Sammlungen vertreten und wurden weltweit ausgestellt, so im Hamburger Bahnhof, im Kunstmuseum Bonn, in der Kunsthalle Nürnberg, im Museum Boijmans van Beuningen und im Perth Institute of Contemporary Art.

Silvia Bächlis künstlerisches Schaffen zeichnet sich durch eine außerordentliche Kontinuität aus. Seit gut 40 Jahren treibt die Schweizer Künstlerin die Entwicklung des Mediums Zeichnung formal und konzeptionell voran. Das Zusammenspiel von Zeichnung und Raum ist dabei von großer Bedeutung. Ihre reduzierten Arbeiten übersetzen Atmosphären, zugleich ist die Installation ihrer Zeichnungen, stets dem jeweiligen Ausstellungskontext angepasst. Diese Publikation dokumentiert eine neue, umfassende Serie großformatiger Arbeiten auf Papier. Farbige Flächen in überwiegend gedeckten Valeurs zeigen sich als durchlässige und fragile Setzungen. Die aufgetragene Farbe lässt den Pinselstrich unterschiedlich stark aufscheinen. Als horizontales Farbband - zu unterschiedlichen Intervallen rhythmisiert - entwickeln die einzelnen Zeichnungen eine installative, raumgreifende Energie, die mit dem historischen Ausstellungsraum in einen spannungsvollen Dialog tritt. Die Wellungen des Papiers lassen eine sinnliche Präsenz der Arbeiten entstehen, die auch im Katalog spürbar wird.SILVIA BÄCHLI (*1956, Baden, Schweiz) gilt gegenwärtig als eine der renommiertesten Künstlerinnen im Medium der Zeichnung. Bereits in den 1990er-Jahren wurde ihre Arbeit international ausgestellt. 2009 vertrat Bächli die Schweiz bei der Biennale in Venedig. Sie lebt und arbeitet in Basel und Paris.

Eric Hattan ist bekannt dafür, listige Eingriffe an Orten vorzunehmen und mit dem Durchkreuzen der bekannten Ordnung für Überraschung zu sorgen. So auch im Museum Langmatt, das den Schweizer Künstler eingeladen hat, seine Räumlichkeiten zu bespielen. Die historische Villa mit ihrem Mahagoni-Parkett, ihren edlen Teppichen, Kronleuchtern und dem gepflegten Garten bildet eine Kontrastfolie für die Installationen Hattans, die sich aus abgetragenen Kleidungsstücken, Metallteilen und weiteren weniger erlesenen Materialien zusammenfügen. Five o'clock Shadow dokumentiert den spannungsreichen Dialog, der dabei entsteht, und macht spürbar, wie das ehrwürdige Gebäude durch Hattans Intervention aufblüht.Der in Basel und Paris lebende ERIC HATTAN (*1955, Wettingen, Schweiz) zählt zu den erfindungsreichsten Konzeptkünstlern der Schweiz. Seine künstlerische Sprache zeigt sich chamäleonartig in diversen Medien und findet seit vielen Jahren internationale Beachtung.

Atem, Lehm-the German words for "breath" and "clay", a title inspired by a poem by Paul Celan-is the first monograph dedicated to Latvian artist Daiga Grantina.Grantina's solo show at GAMeC in Bergamo represented a major evolution in her poetics, a decisive and coherent change of palette and pace compared to her amorphous in-situ installations that have characterized her work to date. A mural forms an open-ended structure with its potentially infinite combinations: It seems to breathe, constraining and distending the grounding of space.The book's structure mirrors this evolution, exploring a before, characterized by large-scale environmental installations in New York's New Museum, the Biennale di Venezia and in Palais de Tokyo, Paris, to name a few, and an after, when the artist's sculptural environments seem to shift their locus of perception.

Georg Baselitz enters a dialogue with the Old Masters - invited by Kunsthistorisches Museum Vienna, the acclaimed German painter and sculptor engages in a visual conversation. Baselitz himself curated this selection of works, focusing exclusively on nude painting. Both the exhibition and the catalogue revolve around this elemental human state, and its fundamental role in European art.From the beginning of his career, Baselitz's work has been informed by a pronounced awareness of art history, above all he was inspired by Mannerism's break with classical rules. Insights into the history of nude painting, as well into the topicality of painting itself, emerge from this encounter of Baselitz's works with historical paintings of an idealized beauty from Kunsthistorisches Museum. The carefully chosen juxtapositions open up a space in which one can reflect and experience the essence of painting anew.GEORG BASELITZ (*1938, Deutschbaselitz) is without a doubt one of the most influential painters and sculptors of our time. His work eludes easy categorization, but has continuously returned to his search for a new approach to updating classic figurative painting. In a celebrated turning point in 1969, he literally turned his paintings upside down and thereby managed to change the public's viewing habits, and to sharpen their perceptions.

Blinde, die im Takt prozessieren, Analphabet*innen, die Musik komponieren, Rentner*innen, Skater*innen, Chöre, Aktivist*innen: Sie alle sind Gäste von Marinella Senatore. Ihre kollektiven Arbeiten von gesellschaftspolitischer Sprengkraft verbinden Strategien politischer Protestbewegungen mit künstlerischen Ausdrucksformen in unterschiedlichen Medien wie Performance, Skulptur, Textil, Foto, Collage, Zeichnung und Video. Der Katalog begleitet die bisher größte Ausstellung der Künstlerin im Museum VILLA STUCK und der Sammlung Generali Foundation am Museum der Moderne Salzburg: Internationale Autor*innen erörtern Fragen nach der Spannung zwischen Individuum und Kollektiv, nach Sehnsüchten und Zugehörigkeit, nach gesellschaftspolitischer Exklusion und alternativen Organisationsformen sowie dem transformativen Potenzial der Kunst.MARINELLA SENATORE (*1977) ist eine zentrale Figur der italienischen Gegenwartskunst. Ausgebildet in Film und Musik spezialisierte sie sich auf eine kollaborative künstlerische Praxis. Als vielfach ausgezeichnete Künstlerin, Aktivistin und Dozentin hat Senatore zuletzt auf der Manifesta in Palermo, auf der Bienal de São Paulo und im Palais du Tokyo Aufsehen erregt.

Paper, cardboard, plywood, light-decidedly conceptual and materially ephemeral, Tobias Putrih's projects draw on visionary concepts of architecture and design and utopian ideas of 20th century avant-gardes. The book traces Putrih's investigations into the heritage of architectural experiment, such as the works of Buckminster Fuller and Friedrich Kiesler. Perceptron is the first comprehensive survey of Putrih's work that oscillates between architecture, sculpture, and science. Through an encyclopedic array of reference materials and critical texts, it examines Putrih's practice in the context of architectural and design history as well as the history of cybernetics, and offers a richly illustrated study of Putrih's modifications of public spaces, experiments in collective form, as well as his immersive temporary environments created out of everyday materials.TOBIAS PUTRIH (*1972 Kranj, Slovenia) studied at Kunstakademie Dusseldorf, before he graduated from the Academy of Fine Arts in Ljubljana with a degree in sculpture in 1999, and earned his MFA in sculpture and video in 2003. He lives and works between Ljubljana and Cambridge, Massachusetts, where he is on the faculty of Program in Art, Culture and Technology - School of Architecture and Planning, Massachusetts Institute of Technology.

Wayne Thiebaud's famous, literally candy-colored still lifes of pies, cakes, gumball machines, and lipsticks reflect the promise and abundance of the American way of life¿a society of plenty, where supply exceeds demand.The tactile impression created by his pasty layers of paint brings the objects to life and creates an atmosphere in which irony and melancholy are carefully balanced. Testing the possibilities of painterly expression, Thiebaud's brilliant painting technique explores the boundaries of the real and imagined world. This catalogue presents all aspects of the legendary American artist's oeuvre, including still lifes and portraits, as well as his deserted, multi-perspective cityscapes and river landscapes, in luminous pastels that exude a peculiar summertime sadness.WAYNE THIEBAUD (1920, Mesa, AZ-2021, Sacramento, CA) began his career as a cartoonist and graphic designer, briefly working for Walt Disney Studios. As an artist, Thiebaud was associated with the US Pop Art movement: his still lifes gained nationwide attention as part of the landmark exhibition New Paintings of Common Objects in 1962, which also featured Andy Warhol, Roy Lichtenstein, and Ed Ruscha and is considered a milestone in the critical reception of Pop Art.

On the occasion of its 60-year anniversary, CIMAM, the International Committee for Museums and Collections of Modern Art, its directors, and curators publish Museums from the Inside. From Suzanne Pagé and Rudi Fuchs, to David Elliott, Toshio Hara, Maria de Corral, Ken Lum to Manolo Borja-Villel and Patricia Phelps de Cisneros, this publication contains more than twenty interviews giving an insider's look at the 60 years in which modern art changed to post-modern art, and the term contemporary art, in turn, began to look almost obsolete.Following a historical introduction, looking back at fierce debates and controversies, a selection of important texts written since 2005 on decolonization, on Arte Útil, and on indigenous art gives insight into more recent fields of research.

Als autodidaktische Künstlerin und angestellte Büroleiterin in Ost-Berlin nutzte Ruth Wolf-Rehfeldt ihre Schreibmaschine, um Buchstaben und Zeichen zu Grafiken zwischen Konkreter Poesie, Grafikdesign und Konzeptkunst zu verdichten. Ihre ins Abstrakte tendierenden sprachlichen Erkundungen, die sie insbesondere in den 1980er-Jahren zu Collagen erweiterte, beruhen oft auf Mehrdeutigkeiten.Nichts Neues erscheint anlässlich der großen Retrospektive im MINSK Kunsthaus in Potsdam. In thematischen Episoden werden ihre Typewritings, Druckgrafiken, Collagen und Gemälde beleuchtet. Zwar hörte Wolf-Rehfeldt nach dem Fall der Mauer auf, künstlerisch zu arbeiten, doch ihre Kunst hat nichts an Aktualität eingebüßt. Im Gegenteil: Auf poetische, eigenwillige und oft humorvolle Weise setzte sich die nonkonformistische Künstlerin mit Themen wie Naturschutz, geistiger Freiheit, Gemeinschaft und Kommunikation auseinander. In ihrem mal subtilen, mal plakativeren Spiel mit Wörtern, Bedeutungen und Formen offenbart sich bis heute immer wieder Unerwartetes.RUTH WOLF-REHFELDT (*1932, Wurzen, Sachsen) kam 1950 nach Berlin. Seit den 1960er-Jahren schuf sie als Autodidaktin Gemälde, Pastelle, Zeichnungen und ab etwa 1970 sogenannte Typewritings. Aus der DDR heraus beteiligte sie sich aktiv am internationalen Mail-Art-Programm. Erst in den vergangenen Jahren erlebt sie eine Wiederentdeckung - 2017 war sie mit ihren Typewritings Newcomerin und zugleich der älteste Star der documenta 14.

On Reality brings together Jorinde Voigt's current body of work, first exhibited in 2022 as part of the exhibition Experimental Strategies in Art + Music at the Moody Center for the Arts, Houston, Texas. By replacing the drawn line with the cut of the scalpel, Voigt creates works on paper through cutting, layering, and mounting that expand the medium of drawing into the three-dimensional. Voigt's idea of the artistic creative process as an operation on and production of reality literally comes into being. The concept that also underlies her sketch-like drawings of more recent date recalls the beginnings of Voigt's artistic expression: notations with diagrammatic elements, musical influences, and spontaneously transferred graphic gestures of situational experience. The publication includes a foreword by the Canadian cultural theorist, philosopher, and artist Erin Manning.JORINDE VOIGT (*1977, Frankfurt am Main) is an internationally acclaimed artist based in Berlin and Hamburg. In 2004 she graduated from the Universität der Künste Berlin. Since then, her works have been presented in numerous exhibitions worldwide, and are part of prominent collections such as those of the MoMA, New York, and the Centre Pompidou, Paris. Jorinde Voigt is Professor of Conceptual Drawing and Painting at the Hochschule für Bildende Künste (HfBK) in Hamburg.

How do cultural institutions and artists respond to long-standing states of crises and international emergencies? It is with these questions in mind that Palestinian artist Khalil Rabah's artistic practice investigates the future of visual arts production. Exploring the relationships between historically sanctioned and experimental exhibition settings, fictional and documentary-narratives, and the histories of displacement, his methods not only propose but produce speculative institutions.As the artist's first major monograph, Falling Forward / Works (1995-2025) presents a comprehensive selection of exhibition materials, previously unseen archival documents, and detailed background notes on how Rabah's methods relate to broader themes in his work. The volume also introduces new critical writing from curators, authors, and researchers on the interrelated subjects of anticipatory aesthetics, subterfuge and fugitive acts, mimicry and performativity, knowledge production, archival technologies and, crucially, the politics of humor.KHALIL RABAH (*1961, Jerusalem) studied fine arts and architecture at the University of Texas. The work of this conceptual artist is rooted in issues of identity, displacement and politics. Characteristic of Rabah's working method is the adaptation of institutional means of representation. In 2003, he established the fictional Palestinian Museum of Natural History and Humankind. Designed as an ongoing project, the museum finds new forms of presentation, depending on the exhibition situation and location. He lives and works in Ramallah.Anthony Downey is Professor of Visual Culture in the Middle East and North Africa at Birmingham City University, UK. He is the series editor for Research/Practice and sits on the editorial boards of Third Text, Digital War, and Memory, Mind & Media.

Since the mid-1990s, Annette and Caroline Kierulf have practiced what they themselves call "woodcut as cultural critique". Drawing on the medium's rich history as a means of communication and protest, the Norwegian artists strive to revive woodcut as a discursive tool. With subtle humor, the sisters use the visual reductiveness of the low-tech medium to critically reflect on the social, economic, and cultural changes shaping our high-tech societies. Incorporating references to pop culture and folk art, Caroline Kierulf's work explores the often overlooked aspects of everyday life, Annette Kierulf focuses on a feminist reinterpretation of the landscape genre. The publication provides insights into the artists' production and working methods, as well as their longstanding collaboration. Oslo-born sisters ANNETTE KIERULF (*1964) and CAROLINE KIERULF (*1968) have played a major role the revitalizing of graphic art in Norway. Both studied at the Academy of Art and Design in Bergen, where they also work today. As independent artists they develop their works in an artistic dialog and have for many years collaborated on exhibitions in Norway and beyond.

Zhao Gang is a wanderer between two worlds. At the age of just 18, he was the youngest member of legendary avant-garde artist group The Stars, which also included Ai Weiwei. Their 1979 group exhibition, and the protests that followed, are often cast as the birth of contemporary Chinese art. Shortly thereafter Gang left for Europe and the United States. Having acquired American citizenship, he is regarded as one of the few artists of his generation who truly understands the East and the West - yet who looks at both worlds with a certain detachment. In his figurative paintings, however, he merges their different visual languages, increasingly turning toward examinations of his personal history and the historical roots of contemporary China. This monograph provides an overview of six central exhibitions from recent years, and introduces the life and work of this rebellious, sensitive, and mischievous painter.ZHAO GANG (*1961, Beijing) left China in 1983 to study fine arts in Maastricht and at Vasaar College in Upstate New York. After more than two decades in New York he returned to China in 2006. He is one of the most recognized Chinese contemporary painters, and lives between Beijing and New York. Among his recent exhibitions is the major group show Art and China after 1989 at the Guggenheim Museum, New York, in 2017.

Josef Albers's groundbreaking series Homage to the Square comprises roughly two thousand oil paintings. His continuous reflections and refinements for more than 25 years inspired numerous young minimal and conceptual artists in their search for a reduced formal language. This outstanding catalogue explores the secret of Albers's subtle aesthetic and unearths its preconditions: What is the significance of the square? How does his impression of color and its use as a material change during this period? Featuring studies on paper, archival materials, as well as essays by internationally-leading Albers experts such as Jeannette Redensek and Heinz Liesbrock, this richly illustrated publication sheds light on the various inspirations that influenced Albers early on in Europe and later in America, and illustrates the lasting impact of his art and thinking.As an influential teacher, writer, painter, and color theorist JOSEF ALBERS (1888, Bottrop-1976, New Haven, CT) is one of the leading pioneers of twentieth-century modernism. From 1923 onwards he taught at the Bauhaus, and continued to do so after his emigration to the USA in 1933 at Black Mountain College in North Carolina, and at Yale University, where he worked on his Homage to the Square from 1950 until his death. HEINZ LIESBROCK (*1953) was the long-standing director of the Josef Albers Museum Quadrat in Bottrop. He has written extensively on Albers and his influence on art history.

The history of the VanhaerentsArtCollection began in the 1970s, when a young Walter Vanhaerents laid the foundation of his now famous collection with works by Andy Warhol. Much has happened since then, but the focus on new and provocative art, often considered radical at the time, remained. From Bruce Nauman, Yoshitomo Nara, and Bill Viola to Cindy Sherman, Jeff Koons, Katharina Fritsch, or Tom Sachs-across different genres and media, the Brussel-based collection reflects a keen sense of the latest developments in current art practices as well as a prescient intuition for emerging artists. The publication Looking Ahead celebrates the 50th anniversary of this unique collection and provides an overview of the exhibitions of the past 15 years.

For 12 years, the Schwarz Foundation has been organizing regular exhibitions on the island of Samos at Art Space Pythagorion as well as the Samos Young Artists Festival. Due to its location on the Greek-Turkish border, Samos symbolizes one of the most pressing humanitarian issues of our time: Migrants crossing the Mediterranean Sea, geopolitical conflicts at the borders of Europe, and the human impact on the oceans around he world. A Decade of Cultural Production presents the work of the Munich-based Schwarz Foundation, whose declared aim is to promote dialogue through music and art. The book highlights how its projects deal with issues of migration, social responsibility and intercultural coexistence.

Even though we often hardly give it a second thought, we spend virtually every moment of our lives in two worlds: the analog world and the world of digital information, signals, and networks. Whether visualizing invisible data streams or tracking down cell phone towers disguised as palm trees, Peter Jellitsch's works constantly revolve around the connections between real and artificially produced reality. Using means of repetition, fragmentation, maximization, and minimization, he creates images that are filled with abstract-looking textures and have a cartoon-like style. The publication Artifacts of the Future provides a broad insight into Jellitsch's eponymously titled current series of works. PETER JELLITSCH (*1982 in Villach, Austria) studied at the Academy of Fine Arts and the University of Applied Arts in Vienna after completing a carpentry apprenticeship. His works have been shown in numerous exhibitions in Europe and the USA and are in collections such as the San Francisco Museum of Modern Art, the Austrian Museum of Applied Arts, the Museum Moderner Kunst Kärnten and the Kupferstichkabinett of the Academy of Fine Arts Vienna. Peter Jellitsch has been a lecturer at the Academy of Fine Arts Vienna since 2011.