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Portrait Bruno S., Foto: Dietmar Kirves

BRUNO SCHLEINSTEIN (often credited as Bruno S.), born June 2, 1936 in Berlin, died August 10, 2010. The unwanted son of a prostitute, was beaten so severely by his mother at age 3 that he became temporarily deaf. This led to his placement in a mental institution; he spent the next 23 years in various institutions, often running afoul of the law. Despite this past, he a self-taught painter and musician; while these were his favorite occupations, he was also forced to take jobs in factories such as driving a fork lift. Film producer Werner Herzog saw him in the documentary Bruno der Schwarze (1970) and vowed to work with him, which led to his major roles in Jeder für sich und Gott gegen alle - Kaspar Hauser (1974) and Stroszek (1977).  wikipedia

2020  A GREAT URBAN INCONVENIENCER | bookreview by Nicole Delmes
2010  BRUNO SCHLEINSTEIN SCREENING
Screening at Babylon Cinema, Berlin-Mitte
BRUNO SCHLEINSTEIN DIED of heart failure on August 10th
2007  BRUNO SCHLEINSTEIN / 75th BIRTHDAY | Gallery Susanne Zander, Cologne
2003  NO!-ON SHOW | Group show at Gallery Berliner Kunstprojekt, Berlin
2002  ESTRAGEMENT IS DEATH | Filmportrait about Bruno S. by Miron Zownir, Berlin
1977  STROSZEK — actor
1975  THE ENIGMA OF KASPAR HAUSER — actor
1970  BRUNO THE BLACK - ON DAY A HUNTER BLEW HIS HORN — actor

NO!art involved Artists: ARMENTO + ARONOVICI + BAJ + BARATELLA + BECHER + BROWN + BRUNET + BRUS + CHORBADZHIEV + D'ARCANGELO + DAYEN + DE RUVO + EHM-MARKS + ERRO + FABRICIUS + FISHER + GATEWOOD + GEORGES + GERZ + GILLESPIE + GILMAN + GOLDMAN + GOLUB + GOODMAN + HALLMANN + HASS + HJULER + KAPROW + KIRVES + KUSAMA + KUZMINSKY + LEBEL + LEVITT + LONG + LST + LURIE + MASTRANGELO + MEAD + MESECK + PATTERSON + PICARD + PINCHEVSKY + RAMSAUER + RANCILLAC + ROUSSEL + SALLES + SALMON + SCHEIBNER + SCHLEINSTEIN + STAHLBERG + STUART + TAMBELLINI + TOBOCMAN + TOCHE + TSUCHIYA + VOSTELL + WALL + WOLF + WOYTASIK + ZOWNIR

NO!art has continued way beyond 1964 and also prior to 1958. The "cutting-off" date 1964, as espoused by the art historian is entirely artificial. Such cutting-off dates are common to art historians, done for cataloguing purposes, and what is more, for accreditation of monetary value in the art market. The cutting-off dates also have a devastating effect on the production of artists, who are, by those means, being convinced that what they produce after a cutting-off date is secondary in importance, and do not belong any longer to the "new times". Yet the art market hated it, for practical reasons of creating confusion about monetary value. That is the main and real reason for art historians and critics insisting on this untrue measure. - Boris Lurie, 2003.

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