84:, Genesis P-Orridge, Dieter Roth, Marina Abramovich, Ken Friedmann and his dog. His mail art was exhibited at the Paris Bi-Annual of 1972 together with art by such other mail art pioneers as Marcel Duchamp, Yves Klein, Richard Johnson, Ben Vautier, George Brecht. About his letters written with a zero code Pierre Restany, a friend of Yves Klein's, wrote this in 1978: "In the immaterial zone of a concentrated (ZEROED) sensitivity Endre TĂłt appears to be the Yves Klein of mail art, a monochrome of postage." His first museum exhibition was staged by the Israel Museum in 1975. Since Hungary had severed its diplomatic relations with Israel in 1967, TĂłt was forced to smuggle his works out of Hungary in an adventurous way. His conceptual works (e.g. his Rainproof-ideas) executed between 1970 and 1974 were exhibited there simultaneously with Alberto Giacometti's statues. Art magazines in Germany, Italy, and France took note of the exhibition with the Jerusalem Post commenting: "This is not to say that Endre Tot is the same race with Giacometti, but he is a totally new and rewarding experience."
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of 1985. He was still a resident of
Budapest when, in 1977, he exhibited with Galerie Bama, one of the best-known Paris galleries. His show was reviewed in L 'Express by Otto Hahn. Due to his international actions and mail art activities he counted in the West as one of the most notable Eastern-European artists, an appraisal hardly acknowledged in his native country. He was plucked from the isolation of his Ăbuda apartment in the late 70s by an invitation coming from the Artist-in-Berlin of DAAD. His applications for an exit permit had been refused by the authorities several times which created a political sensation in the Western press, a circumstance that eventually earned him a permit. After staying in Berlin for a year TĂłt opted for emigration. His Ăbuda apartment was confiscated but his sibling had evacuated his works stored there in the nick of time. After being stored in various low-key places, they were eventually deposited with the Hungarian National Gallery in an orderly fashion.
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the mid-'60s to a leading but neglected Avant-Garde painter, DezsĆ Korniss who highly appreciated his pioneering informel ventures. In 1968 and 1969 he joined his young Neo-Avant-Garde colleagues named collectively the
Iparterv Group of Artists at two scandalous exhibitions heavily criticised by officialdom. A retrospective of his early works was staged at the Budapest Kiscelli Museum in 1989, his early pencil and ink drawings were shown at SzĂ©kesfehĂ©rvĂĄr's King Stephen Museum in 2003, while a comprehensive exhibition of his early works entitled "Early Works â from painted to unpainted pictures" at the Szombathely Gallery in 2004 presented most of his important works executed before his "My Unpainted Canvasses" (1970). After the political turn of 1989â1990 many of his major works executed back in the '60s were acquired by important Hungarian museums.
151:(Who is afraid of Nothing?), and this selection of his works was re-exhibited with the Budapest branch of the Ludwig Museum in 1999. TĂłt is the first Hungarian artist to have been asked to put on an individual show at the Kassel Documenta. Curators there insisted on using the Hungarian title of his Budapest show (Semmi sem semmi) probably because they liked its exotic sound. His action on the city's main square involving him distributing flyers with a black mask hiding his face was cut short by the police even though the flyers contained no information at all. Along with his works accomplished in his studio, his street actions have also helped him achieve international fame.
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to be even more important than painting." (GĂ©za
Perneczky, writing in Ăj MƱvĂ©szet, October, 2003) As a farewell to his painter period he prepared his artist's book "My Unpainted Canvasses" (1970), a virtual presentation of his canvasses never actually accomplished. Also in the early 70s, he evolved some of his basic ideas like "Nothing/Zer0", "Rains and Gladnesses" that were to permeate his works in subsequent decades. The new media he employed in his art include telegrams, picture postcards, T-shirts, Xerox copies, typewriters, films, music, posters, graffiti, banners, actions, artist's books, street newsreels.
104:(I should be glad if I were allowed to write something on the other side of this wall). He demonstrated his joys ("TĂTalJOYs") with posters in his hand or upon his back in the busiest spots of the metropolis. He even placed a flickering sentence speaking about his joy among the news items of a street newsreel atop a KurfĂŒrstendamm building. In 1978 DAAD filmed and published in book form his street action named TOTalJOYS. He twice exhibited his works with Galerie RenĂ© Block, an institution previously hosting such notables as Joseph Beuys, Richard Hamilton, Allan Kaprow,
304:. In contrast to his early demonstrations with a few dozen participants in Western Europe, in 2017 he was able to spectacularly visualize the parade with the help of more than a hundred participants (October 8, 2017). Participants carried their own laughing portraits laminated on a large board as protest signs, while at the beginning of the parade there was a huge banner: ĂRĂLĂNK HOGY DEMONSTRĂLHATUNK (We are glad if we can demonstrate). A limited edition DVD was released of each demo.
214:, The V. Koc Foundation Contemporary Art Collection Istanbul. The Pompidou Centre's catalogue published a copy of his 1975 letter to Pierre Restany ending with the words: "So I'm fucked with my zer0000000000000s". Simultaneously, the Institut Hongrois, the Hungarian Cultural Center in Paris staged a show of the Iparterv Group of Artists (Le Progrés de l'Illusion), where Tót's early (1966/67) informal paintings and paperworks were also on view.
142:, Karlsruhe, 2002) presenting major iconoclastic works by DĂŒrer, Rembrandt, Goya, Duchamp, Malevich, Picabia, Warhol, Beuys etc. At the Bremen exhibition "Who Killed the Painting?" (Museum fĂŒr Moderne Kunst, 2010) his large triptych "Fluxus Triptichon" (2002, 3 x 200 x 125 cm) was on view alongside works by Beuys, Kaprow, Ben Vautier, G. Brecht, Al Hausen, Nam June Paik etc.
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response to the censorship, isolation and suppression inherent in a totalitarian state was to produce his series of joy". At the exhibition staged by the Vienna
Kunstforum entitled "Superstars von Warhol bis Madonna" (2005) his conceptual paperwork "depicting" or rather just marking Mona Lisa's (absent) smile was on view alongside
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published in
Achille Bonito Oliva's "Europe/America: The Different Avant-Garde" (Milan, 1976). "He entered the stage of mail art almost in the very first hour", wrote Jean-Marc Poinsot in his catalogue of 1971 entitled "Mail Art-Communication - A Distance-Concept". His fellow mail art correspondents included his later friend
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bought several of his artist's books. The library of the Paris
Pompidou Centre acquired his Correspondence avec John Armleder (Ecart, Geneva, 1974) in 2010. His artist's books were exhibited in many European, American and Canadian museums including the Pompidou Centre's "Livres d'Artistes" exhibition
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His artist's books made in
Budapest in the 70s earned him quite a lot of international praise. He had first published them on a samizdat basis but they were later republished by Western-European Avant-Garde publishers. 1971: "My Unpainted Canvasses", "The States of Zeros", "Semmi sem semmi / Nothing
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It was in West-Berlin that TĂłt came to realise the ideas that he had taken with him in his suitcase and in his mind from
Budapest. Shortly after arriving, he placed the following inscription upon the Berlin Wall: "Ich wĂŒrde mich freuen, wenn ich etwas auf die andere Seite der Mauer schreiben dĂŒrfte"
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At the invitation of John
Armleder, his later friend who became world-famous for his Neo Geo movement, he spent half a year with the Ecart Gallery of Geneva, an institution also functioning as a mail art centre. It was during his stay in Geneva that he accomplished his first street action (TOTalJoys
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In 1970â71 he broke radically with painting and has since been pre-occupied with
Concept Art. "TĂłt may well have possessed the most phenomenal painter talent among artists living East of Amsterdam. And yet, he voluntarily relinquished painting for the sake of a truth that he had gradually recognised
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He studied at the Mural Department of the Hungarian College of Arts and Crafts from 1959 till 1965. He started to make informal paintings, an absolute novelty in Hungary, in the early '60s followed shortly by collages and works executed in the spirit of Pop Art and Minimal Art. He became attached in
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In 2009 he published a memoir entitled "I'm glad that I can write one sentence after another" with Noran Publishers, Budapest. A critic wrote this about the book: "This is half-way between a logbook and an autonomous work of art since the primacy of the text is questioned throughout by its unusual
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A photo documentation of TĂłt's earliest street action was exhibited at the international show "Protest & Survive" put on by the famous London Whitechapel Gallery. Requested by the curators, he also re-staged his remarkable Geneva street action. The catalogue said this about his actions: "TĂłt's
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After the political change of 1989-1990 in Hungary TĂłt returned to his native country with his works created abroad. He filled all 12 exhibiting halls of the Palace of the Arts with them under the evocative title of "Nothing is Nothing". Four years later he exhibited with the Cologne Ludwig Museum
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After a stay of one and a half years in Berlin he moved to Cologne with his German wife Herta. The first years of his Cologne period were much less productive than his stay in Berlin. He hardly ever worked until the mid-80s. Invited by Artist Place, he flew to New York City in 1982 with a piece of
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His Flyer, Zero, Joy etc. street actions as satellite events to international exhibitions have embarrassed or enraged passers-by in many cities over the decades, not infrequently causing even the police to intervene. International critics usually evaluate those anti-demonstrations by TĂłt to be
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both in 1974). With his "absent paintings" he accomplished a virtual return to painting but this was tantamount in his case to its final destruction. The spirit nurturing his Blackout and Catalogued paintings comes from an aesthetics of dearth. Conceived in an aesthetics of disappearance, his
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Critics recognised his early "Absent Works" published by Cologne-based DuMont Verlag ("Aktuelle Kunst in Ost-Europa", 1972) to be the first conceptual works stemming from Eastern-Europe, works that were to be greatly enhanced in subsequent decades. Some other conceptual works of his were also
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ain't Nothing", 1972: "Nothing", "Incomplete Informations", 1974: "Zero-Texts (1971-72)", "Night Visit to the National Gallery" (Beau Geste Press, UK), "Zero-Post", "Rainproof Ideas (1971-74)", 1979: "TĂTalJOYS", 1981: "Very Special Drawings", 1990: "Evergreen Book". In 1998, the Paris
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The New York Museum of Modern Art (MoMA) had acquired several works of his created during his Budapest isolation and exhibited them in 2006 at its show "Eye on Europe â 1960 to Now". Along with Czech artist Milan Knizak, TĂłt was the only exhibiting artist coming from Eastern Europe.
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Probably more than a hundred of his major works are preserved in such notable private collections as Sammlung Dr. Speck (Cologne), Sammlung René Block (Berlin), Das Archive Sohm (Stuttgart), The Sacker Archive of Concrete and Visual Poetry (Miami Beach, Florida).
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layout and illustrations... The account TĂłt gives of his youthful love-affair is deeply moving, the way he recalls the relationship of the regime towards its artists in the 60s and 70s, convincing, and the list of his fleeting affairs with girls is very funny."
108:, Wolf Vostell. The irony inherent in his actions and mail art definitely links him up with the fluxus movement in Germany. He was the sole Eastern-European protagonist of the itinerant exhibition organised by René Block entitled "Fluxus in Germany 1962-1992".
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After his retrospective exhibition 2012 in MODEM, Endre TĂłt almost completely terminated working in the studio and has been mainly focusing on street actions and "demos". On the occasion of the retrospective he organized a
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was implemented in Budapest with the support of nearly 200 young artists and friends. The demonstration took place on Budapest's most impressive boulevard, the AndrĂĄssy Ășt and was escorted by the police. Further
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With the "blackout years" gone, as he himself called them, he started to work again feverishly from the late 80s on. He elaborated on the idea of "absent paintings", an idea dating back to his Budapest years
138:"absent" works attempt to visualise nothing and void itself. His large work entitled "Dada Messe in Berlin" was exhibited at the show ICONOCLASH: Beyond the Image Wars in Science, Religion and Art (
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art space in Budapest (60, Paulay Ede St.). Six years later a similarly inscribed plaque ("Ich freue mich, dass ich hier gestanden habe") was placed in the floor of the roof terrace of the Cologne
228:, but in recent years he had also had solo exhibitions in Paris, Milan, Vienna and Budapest. Following the invitation of the Palazzo delle Expositioni 2019 he traveled to Rome for the exhibition
267:, Ludwig Museum Budapest, or even two museums in Latin-America: the Center de Arte y Communication (CAYC) Buenos Aires, and the Museu de Arte Contemporaneu da Universidade de SĂŁo Paulo.
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exhibition in 2018, which featured 12 âRain-piecesâ from TĂłt. In 2017, the third German museum solo show of Endre TĂłt's works was installed at the Schwerin State Museum with the title
292:(April 17, 2015), followed by a demonstration during his solo exhibition in Hamburg (8. September 2015). These rallies were of performative nature. Taking on the concept of his
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chalk in his pocket that he used for placing graffiti on the walls of the gallery. It was here that he met up with a great number of notable artists including
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in 2020, a well-known UK publisher, Show & Tell Editions, released a 75-copy edition of a non surgical face mask by Endre TĂłt with the sign TĂTalJOY.
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with the participation of young people from Debrecen. This was Endre TĂłt's first public action in Hungary. One year later, on May 2, 2013 a large-scale
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232:, a show featuring works of the Hungarian Neo-Avant-Garde and presenting a variety many of TĂłt's early conceptual works from the early 1970s.
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text declarations. In some of them Tot declares: "We are glad if we are happy". In 1999 he shows "Who's Afraid of Nothing? Absent images" at
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TĂłt Endre: Nagyon speciĂĄlis örömök â RetrospektĂv 1971-2011 / Endre TĂłt: Very Special Joys â Retrospective 1971-2011, MODEM, Debrecen, 2012
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In 1974, the Swiss Howeg Verlag published his sheet of stamps called Zero-Post among the first artist's stamps of international mail art.
154:"I am glad that I have stood here" â this was inscribed in Hungarian on his bronze plaque placed in the pavement in 1998 in front of
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responses to the mandatory political demonstrations that he had lived through as a young man in totalitarian Hungary.
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He has also been invited to a number of major international thematic exhibitions, the most important of those is the
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in Bonn, Paris and Amsterdam during the 1970s and 1980s, in autumn of 2017 Endre TĂłt realized the first
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His conceptual works were acquired from 1975 through 2010 by such major collections as those of
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1979 I'm glad if I can type zerOs (Ben Vautier: Hotel Room Event), Hotel Steiner, West-Berlin
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2002 Wir sind immer sehr froh... Fluxus in Deutschland 1962â94, Museum Fridericianum, Kassel
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as well as East-Central European museums like National Gallery Prague, Museum Stuki ĆĂłdĆș,
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1979 TĂTaIJOYs, Rainer Verlag, Berlin / Berliner KĂŒnstlerprogramm des DAAD, Berlin-ouest
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1976) which was filmed and later issued on DVD by the Paris Bureau des Videos in 2005.
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2009 "I'm glad if I can write one sentence after another", Noran (2009)(In Hungarian)
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The Art of Eastern Europe in Dialogue with the West â from the I96Os to the present,
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Works from the Vehbi Koc Foundation Contemporary Art Collection, Arter, Istanbul
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The word exists to be put on a postcard: artists' postcard from 1960 to now,
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In the framework of L'Internationale, Museu d'Art Contemporani, Barcelona
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With the Eyes of Others: Hungarian Artists of the Sixties and Seventies,
50:, Cologne, a continuation of a project called "Nothing is not nothing".
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projects, the use of xerox copies and usage of rubber stamps with clear
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2002 Very Special Gladnesses. 4 Jahre: Fluxus und die Folgen, Wiesbaden
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2000 We are glad if we can demonstrate, Whitechapel Art Gallery, London
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Sammlung zeitgenössischer Kunst der Bundesrepublik Deutschland, Bonn
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Museu de Arte ContemporĂąnea da Universidade de SĂŁo Paulo, SĂŁo Paulo
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39:
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1974 Correspondance avec John Armleder, Ecart Publications, GenĂšve
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1973 After 1/2 a minute I shall say something, Galeria Adres, ĆĂłdz
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1972 I'm glad if I can stamp in Warsaw too, Galeria Foksal, Warsaw
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A festett kĂ©ptĆl a meg nem festett kĂ©pig - korai munkĂĄk 1965-1970,
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1976 Zer0-Post, Ecart Publications, Genf / Howeg â Verlag, Hinwil
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Evasion techniques, Hungarian Avant-garde in the 1960s and 1970s,
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Honorary Artist Membership, Museum of Modern Art, New York, 2008
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Honorary Artist Membership, Whitchapel Art Gallery, London, 2005
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1983 From Cologne some JECKE DINGE to you, everybody and nobody
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Fluxus: A long story with many knots. Fluxus in Germany 1962-94
263:, National Gallery of Art Varsaw, Museum of Modern Art OlmĂŒtz,
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28:
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Iconoclash. Beyond the Image Wars in Science, Religion and Art
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1999 Aspect/Position â 50 Jahre Kunst aus Mitteleuropa 1949â99
609:, (traveling exhibition in England), Cullompton, Devon, Oxford
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in Budapest within the framework of the OFF Biennale, also on
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2017 Gladness Demo / ĂrĂŒlĂŒnk, hogy demonstrĂĄlhatunk, Budapest
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1975 Rainproof Ideas (1971â74), The Israel Museum, JĂ©rusalem
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1973 I am glad if I can write sentences, one after the other
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In 2010 he exhibited with such wide-ranging institutions as
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Who's Afraid of Nothing? Abwesende Bilder / Absent Pictures
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Night Visit to the National Gallery, A Visit to the Museum,
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2006 Nichts ist nicht Nichts, Museum Fridericianum, Kassel
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1980 Wir freuen uns, wenn wir demonstrieren können, Bonn
747:. California College of Arts & Crafts, San Francisco
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640:, Centolibri dâartista cento, Palazzo Strozzi, Florence
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1971 My Unpainted Canvases, Samizdat-Edition, Budapest
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1974 IV British International Print Biennale, Bradford
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1971 STAMPED BY ENDRE TĂT, Samizdat-Edition, Budapest
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Extra Article A Survey of Artists, 1960-1999 Ephemena
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Robert Capa Contemporary Photography Center, Budapest
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1999 Who's Afraid of Nothing, Museum Ludwig, Cologne
465:, KortĂĄrs MƱvĂ©szeti MĂșzeum â Ludwig MĂșzeum, Budapest
27:, 1937 is a Hungarian artist who lives and works in
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1977 DIRTY RAINS, Edition J. Sellem, Lund, Schweden
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Global conceptualism: points of origin, 1950s-1980s
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Institute for Foreign Cultural Relations, Stuttgart
824:, Parc Saint LĂ©ger, Centre dâartcontemporain, Paris
1061:Centro de Arte y ComunicaciĂłn (CAyC), Buenos Aires
707:Mail Art: Eastern Europe in International Network,
111:
1377:1991 Masterpieces from Cimabue to Warhol(1971-89)
1348:1981 Very Special Drawings, Rainer Verlag, Berlin
1315:1974 œ Dozen incomplete visual informations on...
428:Nothing is not nothing, Retrospective (1965-1995)
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146:The 1990s â Retrospectives and Entering the Canon
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1247:1971 Semmi Sem Semmi, Samizdat-Edition, Budapest
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344:Special Award, 48th Autumn Salon, Belgrade, 2006
194:presented an Honorary Artist Membership to him.
1374:1990 Evergreen Book for everybody nobody and me
1265:1972 Incomplete Information verbal & visual
1055:Museum van Hedendaagse Kunst, Antwerpen (MuHKA)
907:2000 TĂTaIJOYS, Whitechapel Art Gallery, London
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335:Arbeitsstipendium, Kunstfonds e. v., Bonn, 1990
332:Studio grant, Stedelijk Museum, Amsterdam, 1980
210:, Museum fĂŒr Moderne Kunst Wesenburg - Bremen,
722:, Museum Moderne Kunst, Stiftung Ludwig, Wien
665:International Artists Committee - Exhibition,
602:(Envois Section). Parc Floral de Paris. Paris
1216:The Art of performance: a critical anthology
684:University of Iowa, Iowa Museum of Art, Iowa
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320:Drawing Triennale, Wroclaw, 1974, 1977, 1992
1271:1973 On the next page I shall say something
1133:MODEM Modern és Kortårs MƱvészeti Központ,
796:Museum fĂŒr moderne Kunst, Weserburg, Bremen
754:. ZKM â Center for Art and Media, Karlsruhe
505:Nagyon speciålis örömök (Very Special Joys)
1579:https://www.ichbinsehrgluecklichunddu.com/
1342:1979 1/2 DOZEN BERLINER GLADNESS POSTCARDS
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581:1965-70 KĂĄroly Ferenczy Museum. Szentendre
548:Galéria umenia Ernesta Zmetåka, Nové Zåmky
543:Pertu No 13 â Endre TĂłt â Monogramista T.D
410:1982 Young Fluxus, Artists Space, New York
1076:Museum of Modern Art (MG+MSUM), Ljubljana
63:The 1970s â The Beginnings of Concept Art
1460:"Endre TĂłt: Flyer Aktion (Kassel, 2006)"
1241:1971 nothing, Samizdat-Edition, Budapest
1067:The Olmouz Museum of Modern Art, Olomouc
759:Superstars. Von Andy Warhol bis Madonna,
1312:1974 one dozen rain pOstCarDs (1971-73)
1280:1973 ONE DOZEN RAIN POSTCARDS (1971-73)
948:Works in public collections (selection)
323:Lisbon International Show, Lisbon, 1979
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866:with Hanna Shumska, Vitalii Shupliak,
523:Endre TĂłt. Zer0 makes me glad sad mad,
1371:1984 SPECIAL DRAWINGS - PRIVATE SPACE
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1041:Museu d'Art Contemporani de Barcelona
441:Who's Afraid of Nothing? Absent image
341:MunkĂĄcsy MihĂĄly Award, Budapest, 2006
315:Awards and recognitions, scholarships
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1333:1977 Gladness Writings (1973 - 1976)
886:1976 TĂTalJOYs, Galerie Ecart, Genoa
782:, Museum voor Moderne Kunst, Arnheim
653:, National Gallery of Canada, Ottawa
420:1991 Kunsthalle Szombathely, Hungary
404:1979 Galerie René Block. West-Berlin
363:1966 EpitĆk MĂŒszaki Klubja. Budapest
243:Los Angeles, Museum Ludwig Cologne,
1491:"Gladness-Demo, 2017, OFF Biennale"
1355:, (German Edition), Rainer (1981),
1291:Night visit to the National Gallery
1101:Centre national des arts plastiques
702:(travelling exhibition, until 2004)
619:, I.C.E., London (and British Tour)
595:exhibition, Iparterv hall, Budapest
588:exhibition, Iparterv hall, Budapest
54:The 1960s â Experiments in Informel
38:movement and is well known for his
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1035:San Francisco Museum of Modern Art
633:Wilhelm Lehmbruck Museum, Duisburg
288:took place 2015 in Cologne during
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1259:1972 ABSOLUTE POSSESSIVE PRONOUNS
928:2012 Zer0-Demo, Debrecen, Hungary
829:The Unanswered Question. Ä°skele 2
761:Kunsthalle und Kunstforum, Vienna
646:1980 Cologne Kunstverein, Cologne
531:2017 Amir Shariat Galerie, Vienna
436:1996 Gallery Hundertmark, Cologne
329:scholarship, West-Berlin, 1978/79
222:Artists âposcard from 1960 to now
1353:Book of an extremely glad artist
1139:Modern Képtår, MƱvészetek håza,
1079:The Museum of Contemporary Art,
990:BibliothĂšque nationale de France
919:2006 Zer0-Flyer Aktion, Belgrade
740:Museum of Modern Art, Ljubljana.
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1262:1972 TEN QUESTIONS by Endre TĂłt
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1019:, Centre George Pompidou, Paris
925:2008 Zer0-Flyer Aktion, Tallinn
859:Palazzo delle Esposizioni, Rome
803:, Centre George Pompidou, Paris
571:Galerie Salle Principale, Paris
518:2013 National Theater, Budapest
413:1990 Cologne Kunstverein (with
112:The 1980s â Blackout in Cologne
1614:Hungarian contemporary artists
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1345:1979 Ten Documents (1973 - 80)
1009:Musée national d'art moderne,
815:Museum of Parallel Narratives.
768:Museum of Modern Art, New York
624:The Artist and the Photograph,
475:, Szent IstvĂĄn KirĂĄly MĂșzeum,
202:The 2010s â TĂłt in Collections
190:Two years later MoMA director
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1199:, Galerie SchĂŒppenhauer, 1992
922:2007 Joy-Flyer Aktion, Berlin
895:1980 Outdoor Texts, Amsterdam
643:1979 daadgalerie, West-Berlin
631:Mona Lisa im 20. Jahrhundert,
576:Group exhibitions (selection)
369:1975 Israel Museum, Jerusalem
261:Museum of Modern Art Ljubjana
212:Centre Georges Pompidou Paris
1330:1977 TĂTal zer0s (1973-1977)
1115:Szent IstvĂĄn KirĂĄly MĂșzeum,
1095:Centre des livres d'artistes
1085:Ludwig MĂșzeum, Budapest
1064:NĂĄrodnĂ galerie Praha, PrĂĄga
766:Eye on Europe â 1960 to Now,
709:Staatliches Museum, Schwerin
667:Museum Fridericianum, Kassel
626:The Israel Museum, Jerusalem
423:1991 Galerie Berndt, Cologne
358:Solo exhibitions (selection)
257:Budapest Museum of Fine Arts
169:
7:
1306:1974 TĂTal Questions by TĂT
1293:, Beau Geste Press (1974).
787:erke aus der Sammlung Block
562:Layout paintings 1988-1991,
526:Staatliches Museum Schwerin
468:2002 Galerie Foth, Freiburg
366:1973 Fluxus West. San Diego
10:
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972:Hungarian National Gallery
265:Hungarian National Gallery
226:zer0 makes me glad sad mad
1283:1974 Zero-Texts (1971-72)
1256:1972 Possessive Adjective
1205:, St. James Press, 2002.
1186:, St. James Press, 1996.
1127:Jannus Pannonius MĂșzeum,
1106:Kiscelli MĂșzeum, Budapest
1089:FRAC des Pays de la Loire
916:2006 Flyer Aktion, Kassel
794:Who killed the painting?,
1097:, Saint-Yrieix-la Perche
1029:The J. Paul Getty Museum
940:2017 Zer0-Demo, Schwerin
931:2013 Zer0-Demo, Budapest
831:, n.b.k Ă©s TANAS, Berlin
789:. Neues Museum, NĂŒrnberg
660:Artistsâ Space, New York
569:Very Special Gladnesses,
536:Very Special Gladnesses,
495:Nichts ist nicht Nichts,
473:Korai munkĂĄk (1964â1968)
383:1976 Galerie Bama, Paris
34:Tot participated in the
1511:(in French). 2023-05-09
1318:1975 NULLIFIED DIALOGUE
1253:1971 THE STATES OF ZERO
1197:Fluxus virus, 1962-1992
1037:(SFMOMA), San Francisco
1002:National Museum, Warsaw
937:2015 Zer0-Demo, Hamburg
898:1981 Zer0-Demo, Viersen
875:Actions in public space
870:, BWA Bydgoszcz, Poland
845:Ludwig MĂșzeum, Budapest
838:Elisabeth Dee, New York
731:Whitechapel Art Gallery
716:. Fridericianum, Kassel
121:and his friend of old,
1324:1975 STARS FROM POLAND
1227:Flash Art, No. 66-67,
1011:Centre George Pompidou
901:1991 Zer0-Demo, Oxford
852:British Museum, London
675:Centre George Pompidou
547:
407:1981 Artothek. Cologne
298:Gladness Demonstration
131:My Unpainted Canvasses
97:BibliothĂšque Nationale
1432:"TĂTalJOY Covid mask"
1121:Szombathelyi KĂ©ptĂĄr,
1017:Biblithéque Kandinsky
801:Les Promesse du Passé
727:Protest & Survive
564:acb Gallery, Budapest
486:Szombathelyi KĂ©ptĂĄr,
374:Galeria Akumulatory 2
327:DAAD Artist-in-Berlin
208:Neues Museum NĂŒrnberg
179:'s famous moustached
1479:VideĂł a Zer0-DemorĂłl
1286:1974 ZEROPOST (noir)
1203:Contemporary Artists
1180:Contemporary artists
1167:Queens Museum of Art
1023:Museum of Modern Art
996:Neue Nationalgalerie
934:2015 Zer0-Demo, Köln
498:Museum Fridericianum
463:em fĂ©lĂŒnk a semmitĆl
401:, Reykyavik, Iceland
245:Neue Nationalgalerie
19:(Endre TĂłt) born in
1599:Endre Tot on artnet
1529:cdla (2020-01-31).
1368:1983 Stamps 1971-83
1274:1973 DZIESIEÄ PYTAĆ
978:Museum of Fine Arts
682:Fluxus and Friends,
554:2019 Loom Gallery,
432:Kunsthalle Budapest
415:Martin Kippenberger
399:Galleri Sudurgata 7
255:The Hague, and the
230:Techiche d'Evasione
1624:Conceptual artists
1309:1974 COLOURED DAYS
1236:Books by Endre Tot
1043:(MACBA), Barcelona
868:Celina Kanunnikava
672:Livres dâArtistes,
80:, Daniel Spoerri,
1446:"Great Patriotic"
1192:978-1-55862-183-1
1175:978-0-9604514-9-4
1158:978-963-89271-6-3
780:Procession in Art
775:Bethanien, Berlin
714:hronos and Kairos
600:Biennale de Paris
388:Galerie St. Petri
309:COVID-19 pandemic
82:Cosey Fanny Tutti
76:, John Armleder,
1641:
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1428:
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1417:
1411:
1406:
1049:Gemeentemuseum,
1025:(MoMA), New York
864:Great Patriotic,
651:Books by Artists
550:
509:Modem Kunsthalle
353:, Budapest, 2009
1649:
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1434:. 25 June 2020.
1430:
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1407:
1403:
1398:
1392:
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1229:Venice Biennale
1149:
1070:Muzeum Sztuki,
950:
877:
689:Fluxubritannica
578:
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1588:External links
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177:Marcel Duchamp
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843:Iparterv 50+,
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123:John Armleder
120:
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106:Nam June Paik
101:
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78:George Brecht
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48:Museum Ludwig
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1574:
1563:. Retrieved
1559:
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1539:. Retrieved
1534:
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1513:. Retrieved
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1147:Bibliography
1128:
960:Tate Gallery
863:
856:
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773:Fluxus East,
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693:Tate Gallery
688:
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593:Iparterv II.
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1629:1937 births
1560:www.cnap.fr
1556:"Endre TĂT"
1537:(in French)
1531:"Endre TĂłt"
1509:Navigart.fr
1505:"Endre TĂT"
1231:Issue, 1976
1123:Szombathely
1091:, Carquefou
986:, Jerusalem
586:Iparterv I.
488:Szombathely
307:During the
302:AndrĂĄssy Ășt
290:Art Cologne
251:Jerusalem,
119:Alan Kaprow
74:Ben Vautier
31:, Germany.
1608:Categories
1565:2023-08-21
1541:2023-08-21
1515:2023-08-21
1396:References
1112:, Budapest
980:, Budapest
974:, Budapest
417:), Cologne
286:Zer0 demos
239:New York,
44:conceptual
1594:Endre TĂłt
1420:Endré Tot
956:, Cologne
808:Starter â
598:1971 VII
528:, Germany
515:, Hungary
490:, Hungary
479:, Hungary
447:, Cologne
281:Zer0 demo
277:Zer0 demo
181:Mona Lisa
170:The 2000s
156:Artpool's
17:Endre Tot
1169:, 1999.
1141:Veszprém
1135:Debrecen
1103:, France
998:, Berlin
968:, London
962:, London
733:, London
695:, London
607:FLUXshoe
513:Debrecen
500:, Kassel
394:, Sweden
380:, Poland
247:Berlin,
133:, 1970,
40:Mail art
1535:le cdla
1465:YouTube
1110:Artpool
1013:, Paris
992:, Paris
677:, Paris
25:Hungary
1619:Fluxus
1409:fluxus
1359:
1297:
1221:
1209:
1190:
1173:
1156:
1081:Zagreb
785:2009 W
712:1999 C
461:1999 N
458:, Köln
378:PoznaĆ
36:Fluxus
29:Berlin
1351:1981
1289:1974
862:2022
855:2019
848:2019
841:2019
834:2017
827:2013
820:2012
813:2011
806:2010
799:2010
792:2010
778:2008
771:2007
764:2006
757:2005
750:2002
743:2001
736:2000
725:2000
705:1997
698:1995
687:1994
680:1989
670:1985
663:1984
656:1982
649:1981
636:1978
629:1978
622:1976
615:1976
605:1972
591:1969
584:1968
567:2020
560:2019
556:Milan
541:2019
534:2017
521:2017
503:2012
493:2006
482:2004
471:2003
450:1999
439:1999
426:1995
397:1978
386:1976
372:1975
21:SĂŒmeg
1357:ISBN
1295:ISBN
1219:ISBN
1207:ISBN
1188:ISBN
1171:ISBN
1154:ISBN
1129:PĂ©cs
1072:ĆĂłdĆș
1051:HĂĄga
392:Lund
237:MoMA
443:s.
140:ZKM
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