{"id":356,"date":"2015-08-23T05:16:49","date_gmt":"2015-08-23T05:16:49","guid":{"rendered":"http:\/\/franzehmann.com\/?page_id=356"},"modified":"2015-09-13T06:50:31","modified_gmt":"2015-09-13T06:50:31","slug":"biography","status":"publish","type":"page","link":"https:\/\/franzehmann.com\/index.php\/about\/biography\/","title":{"rendered":"Biography"},"content":{"rendered":"
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Franz Ehmann\u00a0(b. 1963, Austria) lives and works in Brisbane, Australia.<\/h1>\n<\/header>\n
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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.<\/p>\n

\"Beehives<\/a>
Beehives with Heather at Glen Mark<\/figcaption><\/figure>\n

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 \u2018Soapbox \u2013 installation practices and artists\u2019 which was followed by \u2018Heterostrophic\u2019 in 2002. Three monographs of his own work have also been published. \u00a0\u2018The blue room of humanity\u2019 in 1997 coincided with his exhibition at the Institute of Modern Art as was \u2018Open Panorama\u2019 in 2000 and \u2018Speaking the world into existence\u2019 in 2005.<\/p>\n

Since 1992, Franz Ehmann\u2019s 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. \u2026Read more.<\/a><\/em><\/p>\n<\/div>\n

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Curriculum Vitae<\/h1>\n<\/header>\n
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Born: Ehmann Franz in Graz Austria, 1963<\/p>\n

Exhibitions<\/p>\n

2014<\/p>\n

Many Things (it\u2019s a colourful world), SGAR, Brisbane<\/p>\n

Creatio continua, Im Haus der Kunst , Munich, Germany<\/p>\n

2013<\/p>\n

1 Biennale der K\u00fcnstler im Haus der Kunst, Munich, Germany<\/p>\n

2012<\/p>\n

Words that changed the world and influenced the weather, FOE 156, Munich, Germany<\/p>\n

Words that changed the world and influenced the weather, SGAR, Brisbane<\/p>\n

2011<\/p>\n

There where you are not, Factory49, Sydney<\/p>\n

2010<\/p>\n

Songs that changed the world and influenced the weather, Greenaway Art Gallery, Adelaide, S.A.<\/p>\n

Fourteen, Factory49, Sydney<\/p>\n

Cheap philosophies, Schwartz Gallery, London, UK<\/p>\n

2009<\/p>\n

Yes we can, Lisi H\u00e4mmerle Galerie, Bregenz, Austria<\/p>\n

2008<\/p>\n

Vienna Biennale, Vienna, Austria<\/p>\n

Relentless (without beginning nor end), BBK Galerie, Augsburg, Germany<\/p>\n

Maximum acceleration, Conny Dietzschold Multiple Box, Sydney<\/p>\n

2007<\/p>\n

Aftermath, Artspace Sydney, artist residency and exhibition, Sydney<\/p>\n

Maximum acceleration, Ryan Renshaw Gallery, Brisbane<\/p>\n

ARC Biennial, Queensland University Technology Art Museum, Brisbane<\/p>\n

2005<\/p>\n

Questioning the questions of this world, Ryan Renshaw Gallery, Brisbane<\/p>\n

Questioning the questions of this world, Greenaway Art Gallery, Adelaide<\/p>\n

Speaking the world into existence, Institute of Modern Art, Brisbane<\/p>\n

Speaking the world into existence, Artspace Mackay, Mackay Qld<\/p>\n

2004<\/p>\n

Where is my mind, Soapboxgallery, Brisbane<\/p>\n

Speaking the world into existence, Esa J\u00e4ske Gallery Sydney<\/p>\n

Speaking the world into existence, Soapbox gallery, Brisbane<\/p>\n

2003<\/p>\n

Through the mouth, into your existence, Soapbox gallery, Brisbane<\/p>\n

Thinkthank, Greenaway Art Gallery, Adelaide<\/p>\n

Where is my mind, Soapbox gallery, Brisbane<\/p>\n

2002<\/p>\n

Love at the end of a days work, Soapbox gallery, Brisbane<\/p>\n

2001<\/p>\n

Eveningmeal with 6 o\u2019clock news, Soapbox gallery, Brisbane<\/p>\n

Open Panorama (milk, honey, wax, theories, politics, assumptions + words), Greenaway Art Gallery, Adelaide<\/p>\n

Almost there ( again\u2026 ) , Casula Powerhouse, Sydney<\/p>\n

2000<\/p>\n

Almost there, Artspace, Sydney<\/p>\n

Open Panorama, Greenaway Gallery \u2013 Adelaide, Institude of Modern Art + Soapbox gallery, Brisbane<\/p>\n

1999<\/p>\n

2000 years of nothingness, Soapbox gallery, Brisbane<\/p>\n

Wishlist, Greenaway Galleries, Adelaide<\/p>\n

1998<\/p>\n

Worldly pain \u2013 Worldly spirit, Soapbox gallery, Volt, Brisbane Festival<\/p>\n

Culture of forgetfulness, Soapbox gallery, Brisbane + Linden gallery,Melbourne<\/p>\n

The blue room of humanity, Experimental Art Foundation \u2013 Adelaide, Perth Institute of Contemporary Art \u2013 Perth, 24 HR Art \u2013 Darwin<\/p>\n

1997<\/p>\n

The blue room of humanity, Institute of Modern Art, Brisbane<\/p>\n

Memos for the next millennium, Michael Burke gallery, Brisbane<\/p>\n

1996<\/p>\n

Milk table for parliament, Darwin Festival, Northern Territory<\/p>\n

A ladder for everyone, Whitebox gallery, Brisbane<\/p>\n

1995<\/p>\n

Memos for an un-known person, Michael Burke gallery, Brisbane<\/p>\n

1994<\/p>\n

Loneliness + Wailing Room, Institute of Modern Art, Brisbane<\/p>\n

From the human museum of forgiveness: Eine weisse Geschichte, Randall Studio, Brisbane<\/p>\n

Milk+Poem, From the human museum of laughter, Randall Studio, Brisbane<\/p>\n

Emotional Architecture, collaboration with Architect Peter Besley, Gallery 331, Brisbane<\/p>\n

1993<\/p>\n

Sprachenfuge \u2013 Language fugue, Kiss my art, Brisbane<\/p>\n

1992<\/p>\n

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<\/p>\n

1991<\/p>\n

Inside the beehive, everyone\u2019s land, Territory North Theatre, Darwin<\/p>\n

Human Generation, collaboration with Lynnette Voevodin<\/p>\n

N.T. Centre for contemporary art \u2013 Darwin<\/p>\n

Chameleon contemporary art space \u2013 Hobart, Arthouse \u2013 Launceston<\/p>\n

1976<\/p>\n

Junge Talente, Gallery Atelier Autodidakt, Bregenz \u2013 Austria<\/p>\n<\/div>\n

Read more.<\/a><\/em><\/p>\n

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Publications<\/h1>\n

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\"Speaking<\/a>
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<\/figcaption><\/figure>\n

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THE END<\/p>\n

Franz Ehmann\u2019s 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<\/p>\n

\u2026read more.<\/a><\/em><\/p>\n

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 <\/p>\n","protected":false},"excerpt":{"rendered":"

Franz Ehmann\u00a0(b. 1963, Austria) lives and works in Brisbane, Australia. From 1979 to 1982 he completed an apprenticeship as a chef. He […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":3,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/page_fullwidth.php","meta":{"footnotes":""},"class_list":["post-356","page","type-page","status-publish","hentry","gallery-content-unit"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P6xnEb-5K","_links":{"self":[{"href":"https:\/\/franzehmann.com\/index.php\/wp-json\/wp\/v2\/pages\/356","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/franzehmann.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/franzehmann.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/franzehmann.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/franzehmann.com\/index.php\/wp-json\/wp\/v2\/comments?post=356"}],"version-history":[{"count":15,"href":"https:\/\/franzehmann.com\/index.php\/wp-json\/wp\/v2\/pages\/356\/revisions"}],"predecessor-version":[{"id":649,"href":"https:\/\/franzehmann.com\/index.php\/wp-json\/wp\/v2\/pages\/356\/revisions\/649"}],"up":[{"embeddable":true,"href":"https:\/\/franzehmann.com\/index.php\/wp-json\/wp\/v2\/pages\/3"}],"wp:attachment":[{"href":"https:\/\/franzehmann.com\/index.php\/wp-json\/wp\/v2\/media?parent=356"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}