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About
Exhibitions
Works
† Obituary
NO!art
occupies
the strategic
juncture where
artistic production
and socio-cultural
action meet.
ENRICO BAJ, born in 1924, in Milan, Italy. Instead of studying renaissance artists, he prowled around witches' cauldrons. He retained a taste for the peculiar. In his works he used a range of miscellaneous materials: belts, mirrors, wallpaper, bits of fabric. In this same way, witches brewed the simplest and most dubious materials in their cauldrons, creating a devil's potion. His witchcraft was a gauge of contemporary confusions. André Breton discerned something errant in Baj's face: wandering traces of images coming into being; anguish over the present and apprehension; a laugh of deliverance.—In 1952, with Sergio Dangelo, he published the manifesto "Il Primo Manifesto Della Pittura Nucleare". Died in 2003. ►wikipedia
2020 DAME IDRAULICHE | Isabella Bortolozzi Gallery, Berlin
2007 ENRICO BAJ | Gallery Petzel, New York
2003 NO!art IN BUCHENWALD
Boris Lurie, GEDICHTIGTES/GESCHRIEBIGTES, Stuttgart
Contributions to the catalog book:
►The Bum Manifesto and ►Two Nuclear Forms
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.
