Gen Atem

During the period of riots after the Opernhauskrawalle in Zurich at the beginning of the 1980s, Gen Atem sprayed socially critical illustrations and graffiti in public space in Zurich, and carried out politically motivated color attacks on official buildings.[9] Since then he has repeatedly applied the throwing of paint bombs in his artistic work.[10][11]

In 1982, Gen Atem became aware of the hip-hop culture and began his activities as a breakdancer,[12] DJ, and graffiti writer under the artist names Genius, Gen, Gen One, and Gen U One.[13][14] From 1982 to 1992, he created over 800 works in public spaces in New York, Paris, Amsterdam, Berlin, Basel, and Zurich.[15][16][17][18] He not only used the spray can, but also experimented with paint rollers, paint bombs, powder pigments, and waste objects, which he integrated into his works with adhesive materials.[19] He was the founder and leader of the graffiti crews "Wild Writers" and "Attacking Vandalism Criminals" (or simply AVC).[20][21] Due to his activities as a graffiti writer, he was arrested several times.[9] After his first son was born in 1992, he withdrew from such illegal actions. Together with the artist S213 Werne Feller, in 2017, he created a large mural of over 10,000 square feet at the Attisholz-Areal in Solothurn. It is titled "Christoph Blocher" and depicts a portrait of the Swiss politician of the same name, attacked with a color bomb. At the time of its creation, the mural was considered the largest in Switzerland.[22][23][11]

In the 1980s Gen Atem collaborated with musicians in the field of free improvisation music, with the claim that painters and musicians inspire each other in their live improvised work. In 1989, he organized a series of performances at the Kunsthaus Oerlikon in Zurich, in which he worked together with musicians such as Stephan Wittwer, Irène Schweizer, and Christy Doran. For this new kind of action art, he coined the term "Frei Improvisierte Malerei" (Freely Improvised Painting) combining elements of the Viennese Actionists, Abstract Expressionism, and Graffiti.[1][21]

From 1986 to 1994, Gen Atem collaborated with the New York artist Rammellzee, who interlaced graffiti with elements of Afrofuturism in his work, which he called Ikonoklast Panzerism – Gothic Futurism. Together with Rammellzee, Gen Atem realized various performances and exhibitions in New York City and Amsterdam between 1986 and 1994. Gen Atem and Rammellzee organized and executed so-called "art battle performances", like the one at Eigen+Art Gallery in New York City in 1994, titled "Exercises in Self Presentation". For these art battles, each artist created 26 sculptures, each of which represented one of the letters of the alphabet. A chassis with wheels was an integral part of each sculpture, and the two artists had their letters compete with each other in combinations of so-called "letter formation functions" on a system of self-made tracks. Simultaneously, Gen Atem and Rammellzee played self-composed music and attacked each other with rhymes. Inspired by Afrofuturism, Gen Atem used language, his mobile letter sculptures, and his vocal music performances as a strategy and technology to transcend the digital divide. He created and performed in costumes similar to those worn by Sun Ra and Parliament-Funkadelic.[1][24][25]

In 1994, Gen Atem and Rammellzee ended their collaboration. Gen Atem became more interested in Asian calligraphy and Buddhist philosophy, and retired to a Buddhist monastery in 1995. In 1999, he was ordained a monk and studied Buddhist philosophy of the Tibetan tradition under the guidance of the 14th Dalai Lama. Afterwards he studied and practiced under the guidance of the Vietnamese Zen master Thích Nhất Hạnh in the Zen-monastery Plum Village in France.[1][2][3] From 2001 to 2009 he was head of the "Four Seasons Meditation Centre" in Zurich and taught Buddhist philosophy and meditation. His teachings were recorded by his students and published in the book "Gen Atem – The Four Noble Truths, an Introduction to Buddhism" in 2006.[26]

During his time in the monastery, Gen Atem created calligraphic drawings in small formats. Since 2007 he has been painting larger works again, which he presents internationally in museums and galleries. In his works he combines the various art forms and the philosophical aspects associated with them and calls them "Meditated Vandalism".[27][28][29][30] In the monograph on Gen Atem, art historian Rémi Jaccard writes in his essay "On Meditated Vandalism": "...Like Jackson Pollock and Hermann Nitsch, Gen Atem also comprehends the act of painting as a ritual in which energy is discharged and conserved in the form of a painting. And as with Francis Picabia, the result – the shapeless spot – symbolizes the resistance against norms and conventions...".[1] In December 2016, the Neue Zürcher Zeitung published a comprehensive portrait of Gen Atem in both the print and online editions.[3][10] In March 2013, SRF Schweizer Fernsehen broadcast a reportage on Gen Atem and his work.[2]

In the early 1990s Gen Atem started composing, producing, and performing music to co-play in his art-performances. During this time, he began working on his first solo album "The Subway Monk" which he composed and produced with Stephan Wittwer. Due to legal issues, the album was not released until 2019.[31] Gen Atem (vocals, vocoder) and Stephan Wittwer (guitar) played two concerts at Rote Fabrik Aktionshalle and at "The Sihlquai Club" in Zurich with Wittwer's band "Sludge 2/3000" and another concert at Moods Club with Wittwer's band "Das T.E.A.M." in 1995 and 1996.[32] In 2012 and 2013, Gen Atem was the singer of the group "Die Grenzwelt" and had appearances at the "blank city calling" art festival, at the Club Exil and at the Club Zukunft in Zurich.[33][34] His second studio solo album "Not Here" was released in 2014,[31][35] the third solo album "Truth" in 2020,[36] and "Lost Tracks" as well as the single "Double Fight: Four More Rounds"[37] in 2022 on the label Sunticrecords.[38]

From 1990 to 1993, Gen Atem sporadically wrote art theoretical treatises in conjunction with sketches on the subject of "Ikonoklast Panzerism - Gothic Futurism" for the Zurich trend magazine Forecast. In 2015 and 2016, he published essays in the two books "Time Frame" and "Meditated Vandalism" in which he explains the commonality between Buddhist philosophy and his work as an artist.[26][19]