Bazon Brock (born 1936 Stolp, Pommern): Poster for the campaign "War on the huts - peace to the palaces". Request for happy bombs, 1962, Offset printing Technique: Offset printing on Paper Inscription: Lower right signed in the printing plate: "Agit Bazon Brock". Inscribed in the printing plate: "Bitte um glückliche Bomben auf die deutsche Pissoirlandschaft / Unsere Städte müssen wieder in Schutt und Trümmer gelegt werden! / Jedermann helfe mit, trage bei, schreite zur Tat! Galerie Sydow Frankfurt, Sandgasse 4". Date: 1962 Description: We won the war in 1945. Germany lay in ruins. It was easy and nice to believe in a better future. When Adolf took the Eva, we set off: lovable enemies, proud and just, had liberated us from ourselves. They spared no expense, almost ruined their economies and risked their lives in the bomber pulpits to subject German architecture to a contemporary correction. They dissolved the arrogance and dullness of the High German town planners backwards into dust and rubble. That was a truly successful blow. For the first time, Germany became a pilgrimage destination for the architectural avant-garde. People came from all over the world to stroll around the barren slabs of our cities, to have a good time with a lucky strike in the smoking ruins and to adopt the fantastic architecture that had been worked out at great sacrifice as the standard for all future building work. We Germans ourselves were surprised to see how beautiful our cities can be. We were thrilled. But since we do not owe this victory of 1945 to ourselves, we lose it again today at every topping-out ceremony and, through the narrow-mindedness of our local building authorities, we are gambling away what alone could be worth bequeathing to our grandchildren: a house to live in. But the opportunity was missed. German cities once again became uninteresting for the world's tourists. So today we are once again mere slavish subjects of our own limited minds and false money. And the German architectural achievement is the construction of more than 8 million new-build urinals in which we seem to be prepared to live. This applies equally to the Stalinallee in Berlin and the Berliner Strasse in Frankfurt as the pride of German urban planners; it applies to the endless terraced houses as the pride of German domestic politicians and the shitty owner-occupied homes as the pride of German citizens. The so-called hard facts of life are cited as an excuse for this disgusting state of affairs. But the hard facts of life here are - as always - the consequences of our soft pears. After all, what does reality do? Think about it! What can be done anyway? The offence must first be followed by punishment. But since you don't like to give yourself a beating and let go of false possessions, the following should apply: Beat your city builders wherever you meet them. Then it is advisable to cultivate a lively neighbourhood by tearing down your neighbour's cottage as quickly as possible and returning him to the beauty of the beginning on liberated earth. Then it is important to prepare for the future. It is very easy to demonstrate how little we can see of the future that awaits us all: Every graduate of compulsory education writes any year from 700 BC, the founding of Rome, to the present day without hesitation and with the greatest fluency. But at every turn of the year, we have difficulty putting the new year on the letterhead, because the next one is foreign to us. To write 1965, we need the same energy as to write the year 4560. Try it out for yourself and practise the future for five minutes a day by writing down all the years between 1964 and 4560 one after the other in handwriting, i.e. advance those 2660 years into the future that you can write with ease and without shame into the past - up to the foundation of Rome.ms - step backwards every day. This will give you and your children a new perspective forwards, forwards, backwards, forwards, forwards. After these preparations, the only remaining solution to our cold misery can be pursued with everyone's consent: OUR CITIES MUST BE REDUCED TO RUBBLE AGAIN! Only in this way can the architects Ulrich S. v. ALTENSTADT, Günther BOCK, FREI OTTO, Roland FREY, Yona FRIEDMANN, Werner RUHNAU, Eckhard SCHULZE-FIELITZ and Konrad WACHSMANN be given the opportunity to realise their outstanding urban planning concepts, which can be seen in the exhibition "Heimat, deine Häuser". The destruction of the cities will be carried out in agreement with the Bundeswehr and under the conditions of the Emergency Powers Act, which can be tested in this way. The destruction of the cities will a historically and b artistically be carried out. The historical destruction will be carried out by the military according to the model of 1945, the artistic destruction by visual artists according to their own pictures. The artists ARMAN, ARTMANN, Stan BROWN, Robert FILLIOU, Hermann GOEPFERT, Friedensreich HUNDERTWASSER, RAUSCHENBERG, Daniel SPOERRI, Jean TINGUELY, Günther UECKER, Jef VERHEYEN, Wolf VOSTELL, Oscar E. WILLIAMS and The Royal Academy of Fine Arts will give us such life-size vernissages, assemblages, decollages, trap pictures and thunderstorm speeches from bomber pulpits. The city of Cologne is seen as a prime example of historical destruction and the city of Frankfurt as a prime example of artistic destruction and dissolution. During the period of destruction, the population is evacuated or accommodated for a longer period in temporary alternative cities, as provided for in the Emergency Powers Act. Broadcasting organisations and publishing houses are exempted from the bombing for the time being because they have something to say about the situation. The same applies to the government honour lodges. The laws and contingencies according to which the return of Germany to its 1945 level and the reconstruction of the future are to be realised are laid down in a four-year plan. It is forbidden to use the term reconstruction for the work to be carried out in these four years, as there can be nothing that can be rebuilt from the past of this Germany. According to the designs of the architects mentioned above, the re-bombed and artistically dissolved cities will either be built over with new cities or they will remain standing in the open field as memorials to the German victory of 1945, as travelling destinations for world tourism, as free creations of the human spirit. In this way, there is also no need for a possible nuclear war, as we voluntarily give up what is so obnoxious to others that they would even eliminate it from the world with the extinction of human life. The bombing of the city of Frankfurt will begin when the summer weather sets in in mid-June 1964. Note the announcements in the daily press, on radio and television. We have nothing to lose except our golden chains and an all-petrifying narrowness - we have something more to gain. Be that as it may: Germany has already been abolished in our hearts anyway. Our cities must be reduced to rubble again! Everyone help, contribute, take action! Keywords: 20th century, Contemporary, Caricature, Germany, Size: Paper: 59,3 cm x 42,0 cm (23,3 x 16,5 in)
Prof. Bazon Brock "Richte die Zeiten" Zeichen auf gelbem Grund und unterhalb betitelt "Richte die Zeiten", Siebdruck auf Kunststofftafel, 1995, auf der Rückseite von Hand nummeriert und signiert "95/100 Bazon Brock", in Papiermappe eingelegt, minimale Abriebspuren, Maße der Tafel ca. 42 x 30 cm. Künstlerinfo: eigentl. Jürgen Johannes Hermann Brock, Künstler der Fluxus-Bewegung (geboren 1936 in Stolp/Pommern), ab 1957 Ausbildung als Dramaturg am Landestheater Darmstadt und bis 1964 parallel Studium der Germanistik, der Politikwissenschaften und der Philosophie in Zürich, Hamburg und Frankfurt am Main, Teilnahme an Happenings, unter anderem mit Wolf Vostell, Nam June Paik und Friedensreich Hundertwasser, ab 1965 Professor an der Hochschule der Bildenden Künste in Hamburg, ab 1970 Gastdozent an der Universität für angewandte Kunst Wien, nachfolgend Professor an der Bergischen Universität in Wuppertal, 1992 Ernennung zum Ehrendoktor an der Eidgenössischen Technischen Hochschule Zürich, Mitglied des PEN-Liechtenstein, 2004 Verleihung des Bundesverdienstkreuzes, lebt in Wuppertal und Berlin, Quelle: Wikipedia. Prof. Bazon Brock "Richte die Zeiten" Signs on yellow background and titled below "Richte die Zeiten", silkscreen print on plastic panel, 1995, numbered and signed by hand on the reverse "95/100 Bazon Brock", inserted in paper folder, minimal signs of wear, dimensions of the panel approx. 42 x 30 cm. Artist information: eigentl. Jürgen Johannes Hermann Brock, artist of the Fluxus movement (born 1936 in Stolp/Pomerania), from 1957 trained as a dramaturge at the Landestheater Darmstadt and until 1964 simultaneously studied German, political science and philosophy in Zurich, Hamburg and Frankfurt am Main, participated in happenings with Wolf Vostell, Nam June Paik and Friedensreich Hundertwasser, among others, Professor at the University of Fine Arts in Hamburg from 1965, guest lecturer at the University of Applied Arts Vienna from 1970, subsequently professor at the Bergische University in Wuppertal, awarded an honorary doctorate at the Swiss Federal Institute of Technology Zurich in 1992, member of PEN-Liechtenstein, awarded the Federal Cross of Merit in 2004, lives in Wuppertal and Berlin, source: Wikipedia.
Prof. Bazon Brock "Richte die Zeiten" Zeichen auf gelbem Grund und unterhalb betitelt "Richte die Zeiten", Siebdruck auf Kunststofftafel, 1995, auf der Rückseite von Hand nummeriert und signiert "95/100 Bazon Brock", in Papiermappe eingelegt, minimale Abriebspuren, Maße der Tafel ca. 42 x 30 cm. Künstlerinfo: eigentl. Jürgen Johannes Hermann Brock, Künstler der Fluxus-Bewegung (geboren 1936 in Stolp/Pommern), ab 1957 Ausbildung als Dramaturg am Landestheater Darmstadt und bis 1964 parallel Studium der Germanistik, der Politikwissenschaften und der Philosophie in Zürich, Hamburg und Frankfurt am Main, Teilnahme an Happenings, unter anderem mit Wolf Vostell, Nam June Paik und Friedensreich Hundertwasser, ab 1965 Professor an der Hochschule der Bildenden Künste in Hamburg, ab 1970 Gastdozent an der Universität für angewandte Kunst Wien, nachfolgend Professor an der Bergischen Universität in Wuppertal, 1992 Ernennung zum Ehrendoktor an der Eidgenössischen Technischen Hochschule Zürich, Mitglied des PEN-Liechtenstein, 2004 Verleihung des Bundesverdienstkreuzes, lebt in Wuppertal und Berlin, Quelle: Wikipedia. Prof. Bazon Brock "Richte die Zeiten" Signs on yellow background and titled below "Richte die Zeiten", silkscreen print on plastic panel, 1995, numbered and signed by hand on the reverse "95/100 Bazon Brock", inserted in paper folder, minimal signs of wear, dimensions of the panel approx. 42 x 30 cm. Artist information: eigentl. Jürgen Johannes Hermann Brock, artist of the Fluxus movement (born 1936 in Stolp/Pomerania), from 1957 trained as a dramaturge at the Landestheater Darmstadt and until 1964 simultaneously studied German, political science and philosophy in Zurich, Hamburg and Frankfurt am Main, participated in happenings with Wolf Vostell, Nam June Paik and Friedensreich Hundertwasser, among others, Professor at the University of Fine Arts in Hamburg from 1965, guest lecturer at the University of Applied Arts Vienna from 1970, subsequently professor at the Bergische University in Wuppertal, awarded an honorary doctorate at the Swiss Federal Institute of Technology Zurich in 1992, member of PEN-Liechtenstein, awarded the Federal Cross of Merit in 2004, lives in Wuppertal and Berlin, source: Wikipedia.
Brock, Bazon. Was machen Sie jetzt so? Ca. 90 Bl. Mit zahlreichen fotograf. Abb., faksimileirten Zeitungsartikeln u. ä. 29,5 x 23,5 cm. Illustr. OBroschur. Darmstadt, J. Melzer, 1968. -- Erste Ausgabe der Selbstauskunft. – Exlibris; sehr gut erhalten. – Dabei: Bazon Brock. Ästhetik als Vermittlung. Arbeitsbiographie eines Generalisten. Herausgegeben von Karla Fohrback. XXXI, 1096 S Mit zahlreichen Abb. 24 x 17 cm. OLeinen mit OSchutzumschlag. Köln, DuMont, 1977. - Erste Ausgabe. - Exlibris; sehr gutes Exemplar.
Laszlo hört das Gras wachsen -- Brock, Bazon. Kotfluegel. 80 junge Papierschnitzel oder die Entwicklung eines Wortkonzerts in durchgeführter Sprache. 52 S., 1 Bl. auf versch. farb. Papier gedruckt. 21 x 20 cm. Illustr. OKart. (etwas gebräunt). Basel, Panderma, 1957. -- Lennartz 123. Sammlung Dittmar 667. – Erste Ausgabe der ersten Veröffentlichung Brocks. Umschlagentwurf E. Rustmeier und K.P. Dienst. - Dieser Gedichtband noch von Neodadaismus und der Konkreten Poesie geprägt. Vorblatt mit eigenhändiger Widmung von Brock: "Herr, nehme sich meiner jemand auf einer Wiese an, die mir gefällt. Carl Laszlo hört das Gras schon wachsen. Bâle 9.3.58 Bazon Brock". – Leicht gebräunt. - Eine handschriftliche Rechnung von Carl Laszlo beiliegend.
Brock, Bazon. D.A.S.E.R.S.C.H.R.E.C.K.E.N.A.M.S. Anwendung jenes Prinzips des Unvermögens. Strukturen Childs. 37 Bl. Mit 4 Abbildungen nach Original-Ätzungen von Bernhard Childs. 28,5 x 20 cm. Illustr. OKart. (Vorderdeckel fast gelöst; etwas gebräunt). Basel, Panderma-Verlag Carl Laszlo, 1960. -- Dädalus-Reihe 3. Erste Ausgabe. Eines von 500 nummer. Exemplaren (Gesamtauflage)."Der Text des Bandes ist Bestandteil einer achtstündigen Vorlesung, von der ein weiterer Teil im Februar 1960 in München vom Autor öffentlich gelesen wurde." (Druckvermerk). Typographie: Onorio. – Exlibris.
(geb. 1936). Plakat. Manifestation: Das deutsche Tier und seine Herren. Kunstkabinett am Steintor, Hannover, 20. Sept. 1963. Transparentes Papier, 42 : 29,5 cm. – Gefaltet.
Brock, Bazon Kotfluegel - Sprechmaschine nackt im Damenjournal - 80 junge Papierschnitzel oder die Entwicklung eines Wortkonzerts in durchgeführter Sprache - mit einer Anleitung zum vergnügten und gelassenen Sterben - samt allgemeiner Beleuchtung sowie neuer, author, 20 edition h. , 8x20 cm., Milled paperback, pp. [2] -52- [2]. Cover with graphic composition of the titles on a red, black and white background. Artist book printed on strong paper of different colors, poetic compositions and signs variously arranged on the pages. First work. - Kingdom: BROCK Bazon - CHILDS Bernhard (New York 1910 - New York 1985), D.A.S.E.R.S.C.H.R.E.C.K.E.N.A.M.S. Anwendung jenes Prinzips des Unvermögens - Strukturen Childs, Basel, Panderma Verlag Carl Laszlo, "Dädalus-Reihe 3", [print: Rundschau Druckerei und Verlagsanstalt - Itzehoe], 1960, 28,6x19,8 cm., Milled paperback, pp. 74 n.n., illustrated cover with a black and white drawing, 4 full page serigraphs printed in red by Bernhard Childs. Total edition of 500 numbered copies, 50 of which with the original drawings. Copy belonging to the 450 in ordinary edition.
![Brock, Bazon Kotfluegel - Sprechmaschine nackt im Damenjournal - 80 junge Papierschnitzel oder die Entwicklung eines Wortkonzerts in durchgeführter Sprache - mit einer Anleitung zum vergnügten und gelassenen Sterben - samt allgemeiner Bel[...]](https://stageimg.invaluable.com/housePhotos/Finarte/80/677380/H0484-L215860971.jpg)
