Age, Biography and Wiki

Christian Lemmerz was born on 30 January, 1959. Discover Christian Lemmerz's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is He in this year and how He spends money? Also learn how He earned most of networth at the age of 65 years old?

Popular As N/A
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Age 65 years old
Zodiac Sign Aquarius
Born 30 January, 1959
Birthday 30 January
Birthplace N/A
Nationality

We recommend you to check the complete list of Famous People born on 30 January. He is a member of famous with the age 65 years old group.

Christian Lemmerz Height, Weight & Measurements

At 65 years old, Christian Lemmerz height not available right now. We will update Christian Lemmerz's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

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Dating & Relationship status

He is currently single. He is not dating anyone. We don't have much information about He's past relationship and any previous engaged. According to our Database, He has no children.

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Christian Lemmerz Net Worth

His net worth has been growing significantly in 2022-2023. So, how much is Christian Lemmerz worth at the age of 65 years old? Christian Lemmerz’s income source is mostly from being a successful . He is from . We have estimated Christian Lemmerz's net worth , money, salary, income, and assets.

Net Worth in 2023 $1 Million - $5 Million
Salary in 2023 Under Review
Net Worth in 2022 Pending
Salary in 2022 Under Review
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Timeline

2019

The span of Christian Lemmerz' oeuvre is extensive and pluralistic. Regardless of the material, the form or the medium employed, Lemmerz’ work can generally be characterized by aesthetics of effect. The artworks grasp out and clutch into the surrounding environment and call for more than mere contemplation.

2013

On the basis of an urge to widen the artistic possibilities and a need to offer resistance to the prevailing conventions, Lemmerz makes use of stone wool, foam rubber, margarine, chocolate and other composite materials that effectively elicit an intensely direct affect. He yearns to create an imbalance on different levels. The artist formulates a couple of sculptural conceptions, “the impossible sculpture” and the “pre-linguistic” sculpture,” by means of which he links up his project with Heidegger's reflections on being and his rumination on everything's – and especially art's – beginnings, hereby aiming at creating paths more than just artworks.

Current political and ethical questions become endowed with a clearer voice through the works, which always, in terms of their form and content, constitute a transformation from recognizability to the more veiled or unknown, inasmuch as Lemmerz is working rhizomatically, where the assertion sometimes assumes a classically distinct form and sometimes manifests itself with a gestural formlessness. His whole pluralistic oeuvre is bound together, at the same time, by the fragment – as an open and processual figure.

2009

For his artistic achievements, Lemmerz was honoured with Thorvaldsen's Medal in 2009 and the Eckersberg Medal in 2008. In 2015 he received the New Carlsberg Foundation's Artist Grant.

1994

Lemmerz has worked as a scenographer in Steven Berkoff's Brok (1994) and Rainer Werner Fassbinder's Petra von Kants bitre tårer (1996). He is also the author and director of A.L.P. Traum, an interpretation of the end of James Joyce's Finnegan's Wake (Edison 1997). This novel also inspired Lemmerz and Michael Kvium's The Wake (2000), an eight-hour silent movie, available in several versions. Within the last decades, Christian Lemmerz has resumed his work with marble and thus enters into a sculptural tradition that dates back to the Renaissance and Neoclassicism; examples of this is his Todesfigur (2012 Ny Carlsberg Glyptotek) and the Marble Altar in Lyngby Church (2013).

For the exhibition Scene at Esbjerg Kunstmuseum in 1994 Christian Lemmerz was working with blood smeared surfaces and decomposing pigs' carcasses in glass-walled, steel framed vitrines inspired by traditional still life's where lifeless objects are often used as existential symbols. The exhibition was actualizing the universal theme of death and the transitorial through sculptures that were contemporary in their form and presentation. The installation ensnared the audiences into a limbo of intrigue and disgust, making it close to impossible to look away. Audience might have wondered, if the pigs were brutally killed for the exhibition or if they died a natural death, much like they would around the artwork Away from the Flock from 1994 by British artist Damien Hirst. The banality of the pigs and their known similarity to humans give the work its emotion. With Scene, Lemmerz' was working within a psychological borderline area, where the very notion of sculpture had been distended to its most extreme implications.

1980

In the early 1980s Lemmerz was part of the Danish artist collective Værkstedet Værst and the performance group Performancegruppen Værst. Here he conducted numerous performances from 1985 to 1994; many of these alongside life-long friend and artist Michael Kvium.

1959

Christian Lemmerz (born January 30, 1959) is a German-Danish sculptor and visual artist, who attended the Accademia di Belle Arti in Carrara, Italy from 1978-82 and the Royal Danish Academy of Fine Arts from 1983-88. Despite the classic sculptor training in Carrara, Lemmerz drew his main inspiration from the post-war process-oriented Pop Art; not least from his fellow countryman, Joseph Beuys.