Seen not in terms of transcendental transformations but as the hard-nosed transactions of the monster „history“, the accumulations of cigarette ends must evoke the conditions of postwar Germany, when they were collected and their contents were rerolled into cigarettes (five to one). As the butt became a commodity with a specific monetary value, people actually survived, in both body and soul, by that economy. Viewed from this angle, the transformation implicit in the works is presented not as spiritual or artistic but as bodily or chemical; the idea of transformation is retranslated as the exchange of one commodity for another.


Thomas McEvilley 1995



Cigarette Picture, 1974

Zigarettenbild, 1974


14 x 32 cigarette stubs, glue, brown blotting paper, Novopan

110 x 68 cm

Verso: I. Lüscher 1974


Collection Una Szeemann, Zürich



The artist



Galerie nächst St. Stephan, Wien 1977 (Forum Stadtpark, Graz 1977. Galerie Krinzinger, Innsbruck 1977)



Wiesbaden 1993, p 9 (ill), p 94-95



Lüscher 1972, p 46. Stutzer 1990, p 25. Szeemann 1991, p 215. Künzler-Schmidt 1993, p 7. Rattemeyer 1993, p 35. McEvilley 1995. Lüscher 1996, pp 74-76. Kohlmeyer 1997, p 6. Herzog 1999, p 16



Ed Restle