Bogomir Ecker

Stadtisches Kunstmuseum

Some artists have pursued a kind of archaeology of everyday life by presenting artifacts of our recent past, ordinary objects that have been—or soon will be—rendered obsolete by technological progress. In the late '70s, Bogomir Ecker chose a different path: rather than digging up clues, he began planting his own. Anonymously, in a variety of locations—a shabby corner of a street in Paris, in front of a fence surrounding a freight yard in Düsseldorf, in the freezer compartment of a local supermarket—he created imaginative temporary installations that challenged the assumptions and expectations of our day-to-day routines. Even when he showed his work in galleries and museums, Ecker found ways to provoke us out of our customary perceptual habits.

Ecker has never been interested in an autonomous, self-sufficient kind of sculpture. Just as his three-dimensional forms reach out into the surrounding

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