The multidisciplinary artist Timm Ulrichs died on April 29 at the age of 86, leaving behind a diverse body of work characterized by institutional critique and conceptual experimentation.

跨領域藝術家 Timm Ulrichs 於 4 月 29 日逝世，享年 86 歲，留下了大量風格多元的作品，其特點在於對體制的批判與概念上的實驗。

Ulrichs' professional trajectory was defined by a rejection of artistic specialization, a position manifested in his self-identification as a 'total artist' and 'universal dilettante.' This philosophical framework led to the 1959 establishment of his own distribution center for 'total art, banalism, and extemporism,' thereby bypassing traditional gallery structures. His conceptual approach frequently utilized the human form as a medium; notable instances include the 1961 declaration of himself as a living artwork and the application of a 'The End' tattoo to his eyelid.

Ulrichs 的職業生涯定義在於拒絕藝術專業化，這種立場體現在他將自己定義為「全方位藝術家」與「通用業餘愛好者」。在這種哲學框架下，他在 1959 年成立了自己的「全方位藝術、庸俗主義與即興主義」分銷中心，從而繞過了傳統的畫廊結構。他的概念手法經常將人體作為媒介；顯著的例子包括 1961 年宣布自己是一件活藝術品，以及在眼瞼上刺上「The End」的紋身。

His engagement with public space often involved the intersection of architecture and social commentary. Between 2004 and 2006, Ulrichs executed the 'Versunkenes Dorf' (Sunken Village), a full-scale concrete replica of the Heilig Kreuz church in Munich. This installation serves as a meditation on urban erasure, as the original site was superseded by highway infrastructure and a landfill. Furthermore, his participation in the 1972 Munich Olympics involved a performance in a large hamster wheel, wherein he simulated a daily marathon, a project that terminated following the cessation of the 'Spielstraße' after the Palestinian terrorist attacks.

他對公共空間的參與經常涉及建築與社會評論的交匯。在 2004 年至 2006 年間，Ulrichs 執行了《Versunkenes Dorf》（沉沒之村），這是一個慕尼黑 Heilig Kreuz 教堂的全尺寸混凝土複製品。由於原址被公路基礎設施和垃圾填埋場取代，這件裝置作品成為對都市抹除的一種沉思。此外，他在 1972 年慕尼黑奧運會中參與了一場在大型倉鼠輪中的表演，模擬每日跑馬拉松，該計畫在巴勒斯坦恐怖襲擊導致「Spielstraße」停止後終止。

Throughout his tenure as an educator at the Kunstakademie Münster from 1972 to 2005, and through public performances—such as his 1975 appearance at Art Cologne—Ulrichs maintained a critical stance toward the commercialization of art and religious orthodoxy. His work frequently employed linguistic subversion and paradoxical installations to challenge societal norms and ecological indifference.

在 1972 年至 2005 年擔任明斯特藝術學院（Kunstakademie Münster）教育者期間，以及透過 1975 年在科隆藝術展（Art Cologne）現身等公開表演，Ulrichs 一直對藝術商業化與宗教正統維持批判立場。他的作品經常運用語言顛覆與悖論裝置，以挑戰社會規範與對生態的冷漠。

Timm Ulrichs' death marks the conclusion of a career dedicated to the subversion of artistic boundaries and the critical examination of institutional structures.

Timm Ulrichs 的逝世，標誌著一個致力於顛覆藝術界限與批判性檢視體制結構的職業生涯落下帷幕。