Franz Ehmann (b. 1963, Austria) lives and works in Brisbane, Australia.
From 1979 to 1982 he completed an apprenticeship as a chef. He worked and lived in Switzerland until 1986 where his interests were in nouvelle cuisine and seasonal produce. In 1986 he migrated to Australia, arriving in Adelaide. He received a BA in Fine Art from the NTU in Darwin now ( Charles Darwin University ) in 1991.

His first exhibition was at Gallerie Autodidakt, Bregenz, Austria in 1976 where he exhibited paintings and prints. Franz Ehmann was a partner in the artist run space Whitebox gallery in Brisbane from 1996 to 1997. He opened Soapbox gallery in Brisbane which he directed from 1997 to 2005. Soapbox Gallery operated as an incubator for ideas, installation practices, photography, video and other forms of visual communication. In 1999 in partnership with the Institute of Modern Art Brisbane he published ‘Soapbox – installation practices and artists’ which was followed by ‘Heterostrophic’ in 2002. Three monographs of his own work have also been published. ‘The blue room of humanity’ in 1997 coincided with his exhibition at the Institute of Modern Art as was ‘Open Panorama’ in 2000 and ‘Speaking the world into existence’ in 2005.
Since 1992, Franz Ehmann’s works have been based on food and materials related to cooking. There is a philosophical and conceptual link to the work that can be sustained through existential and ontological inquiries. Prepared food and its waste have dominated the theatrical language of many installation/performance/video works that hold symbolic and metaphorical significance. The focus and intention of these materials are their existential and phenomenological functions. Being in this world means to embody this world. The world is ingested, digested and wasted. A worldly theatre therefore embodies alienation and conciliation and is ultimately humanistic. …Read more.
Curriculum Vitae
Born: Ehmann Franz in Graz Austria, 1963
Exhibitions
2014
Many Things (it’s a colourful world), SGAR, Brisbane
Creatio continua, Im Haus der Kunst , Munich, Germany
2013
1 Biennale der Künstler im Haus der Kunst, Munich, Germany
2012
Words that changed the world and influenced the weather, FOE 156, Munich, Germany
Words that changed the world and influenced the weather, SGAR, Brisbane
2011
There where you are not, Factory49, Sydney
2010
Songs that changed the world and influenced the weather, Greenaway Art Gallery, Adelaide, S.A.
Fourteen, Factory49, Sydney
Cheap philosophies, Schwartz Gallery, London, UK
2009
Yes we can, Lisi Hämmerle Galerie, Bregenz, Austria
2008
Vienna Biennale, Vienna, Austria
Relentless (without beginning nor end), BBK Galerie, Augsburg, Germany
Maximum acceleration, Conny Dietzschold Multiple Box, Sydney
2007
Aftermath, Artspace Sydney, artist residency and exhibition, Sydney
Maximum acceleration, Ryan Renshaw Gallery, Brisbane
ARC Biennial, Queensland University Technology Art Museum, Brisbane
2005
Questioning the questions of this world, Ryan Renshaw Gallery, Brisbane
Questioning the questions of this world, Greenaway Art Gallery, Adelaide
Speaking the world into existence, Institute of Modern Art, Brisbane
Speaking the world into existence, Artspace Mackay, Mackay Qld
2004
Where is my mind, Soapboxgallery, Brisbane
Speaking the world into existence, Esa Jäske Gallery Sydney
Speaking the world into existence, Soapbox gallery, Brisbane
2003
Through the mouth, into your existence, Soapbox gallery, Brisbane
Thinkthank, Greenaway Art Gallery, Adelaide
Where is my mind, Soapbox gallery, Brisbane
2002
Love at the end of a days work, Soapbox gallery, Brisbane
2001
Eveningmeal with 6 o’clock news, Soapbox gallery, Brisbane
Open Panorama (milk, honey, wax, theories, politics, assumptions + words), Greenaway Art Gallery, Adelaide
Almost there ( again… ) , Casula Powerhouse, Sydney
2000
Almost there, Artspace, Sydney
Open Panorama, Greenaway Gallery – Adelaide, Institude of Modern Art + Soapbox gallery, Brisbane
1999
2000 years of nothingness, Soapbox gallery, Brisbane
Wishlist, Greenaway Galleries, Adelaide
1998
Worldly pain – Worldly spirit, Soapbox gallery, Volt, Brisbane Festival
Culture of forgetfulness, Soapbox gallery, Brisbane + Linden gallery,Melbourne
The blue room of humanity, Experimental Art Foundation – Adelaide, Perth Institute of Contemporary Art – Perth, 24 HR Art – Darwin
1997
The blue room of humanity, Institute of Modern Art, Brisbane
Memos for the next millennium, Michael Burke gallery, Brisbane
1996
Milk table for parliament, Darwin Festival, Northern Territory
A ladder for everyone, Whitebox gallery, Brisbane
1995
Memos for an un-known person, Michael Burke gallery, Brisbane
1994
Loneliness + Wailing Room, Institute of Modern Art, Brisbane
From the human museum of forgiveness: Eine weisse Geschichte, Randall Studio, Brisbane
Milk+Poem, From the human museum of laughter, Randall Studio, Brisbane
Emotional Architecture, collaboration with Architect Peter Besley, Gallery 331, Brisbane
1993
Sprachenfuge – Language fugue, Kiss my art, Brisbane
1992
Inside the beehive and a museum for everyone,an installation for everyone and no-one, 2 movements, M.O.C.A. and Space Plentitude, Brisbane
1991
Inside the beehive, everyone’s land, Territory North Theatre, Darwin
Human Generation, collaboration with Lynnette Voevodin
N.T. Centre for contemporary art – Darwin
Chameleon contemporary art space – Hobart, Arthouse – Launceston
1976
Junge Talente, Gallery Atelier Autodidakt, Bregenz – Austria
Publications

Edward Colless
Institute of Modern Art (2005)
98 pages 10x8in softcover ISBN 1 875792 54 6
AUS $22 incl GST
THE END
Franz Ehmann’s work is staged at the end of a story. A series of menus denoting the last meals of prisoners on death row painted on black paper, like instructions written on a blackboard. Can there be a more evocative sense of an ending? These panels are memorials of a sort, although anonymous and even comic. We are what we eat, up to the point of death. Yet these meals tell us nothing of the ones who, in solitude, enjoyed them. Nor anything of their deaths, nor the crimes they committed that led to their execution. Edward Colless