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.

Beehives with Heather
Beehives with Heather at Glen Mark

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



Many Things (it’s a colourful world), SGAR, Brisbane

Creatio continua, Im Haus der Kunst , Munich, Germany


1 Biennale der Künstler im Haus der Kunst, Munich, Germany


Words that changed the world and influenced the weather, FOE 156, Munich, Germany

Words that changed the world and influenced the weather, SGAR, Brisbane


There where you are not, Factory49, Sydney


Songs that changed the world and influenced the weather, Greenaway Art Gallery, Adelaide, S.A.

Fourteen, Factory49, Sydney

Cheap philosophies, Schwartz Gallery, London, UK


Yes we can, Lisi Hämmerle Galerie, Bregenz, Austria


Vienna Biennale, Vienna, Austria

Relentless (without beginning nor end), BBK Galerie, Augsburg, Germany

Maximum acceleration, Conny Dietzschold Multiple Box, Sydney


Aftermath, Artspace Sydney, artist residency and exhibition, Sydney

Maximum acceleration, Ryan Renshaw Gallery, Brisbane

ARC Biennial, Queensland University Technology Art Museum, Brisbane


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


Where is my mind, Soapboxgallery, Brisbane

Speaking the world into existence, Esa Jäske Gallery Sydney

Speaking the world into existence, Soapbox gallery, Brisbane


Through the mouth, into your existence, Soapbox gallery, Brisbane

Thinkthank, Greenaway Art Gallery, Adelaide

Where is my mind, Soapbox gallery, Brisbane


Love at the end of a days work, Soapbox gallery, Brisbane


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


Almost there, Artspace, Sydney

Open Panorama, Greenaway Gallery – Adelaide, Institude of Modern Art + Soapbox gallery, Brisbane


2000 years of nothingness, Soapbox gallery, Brisbane

Wishlist, Greenaway Galleries, Adelaide


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


The blue room of humanity, Institute of Modern Art, Brisbane

Memos for the next millennium, Michael Burke gallery, Brisbane


Milk table for parliament, Darwin Festival, Northern Territory

A ladder for everyone, Whitebox gallery, Brisbane


Memos for an un-known person, Michael Burke gallery, Brisbane


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


Sprachenfuge – Language fugue, Kiss my art, Brisbane


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


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


Junge Talente, Gallery Atelier Autodidakt, Bregenz – Austria

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Speaking the World into Existence Edward Colless Institute of Modern Art (2005) 98 pages 10x8in softcover ISBN 1 875792 54 6 AUS $22 incl GST + p&p
Speaking the World into Existence
Edward Colless
Institute of Modern Art (2005)
98 pages 10x8in softcover ISBN 1 875792 54 6
AUS $22 incl GST



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

…read more.