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Martin Boyce

Martin Boyce, Professor of Sculpture

Martin Boyce is an artist whose sculptural works recall and reference the materials, textures and forms of the built urban environment. Using the iconography of both the everyday and the history of modern architecture and design, his sculptural installations form immersive environments and poetic landscapes.

Martin Boyce was born in Hamilton, Scotland in 1967. He studied at Glasgow School of Art 1986-1990 (BFA) and 1995-1997 (MFA) and California Institute of the Arts 1996 (MFA exchange program).

Boyce represented Scotland at the Venice Biennale 2009 with the exhibition ‘No Reflections’ and was the winner of the 2011 Turner Prize.

His solo exhibitions include ‘Hanging Gardens,’ A4 Museum in Chengdu, China (2018); ‘Light Years’, The Modern Institute, Glasgow (2017); ‘Sleeping Chimneys. Dead Stars,’ Tanya Bonakdar Gallery, New York (2017); ‘Spotlight - 'Do Words Have Voices'’, Tate Britain, London (2016); ‘Spook School’, CAPRI, Düsseldorf (2016); ‘Martin Boyce: When Now is Night’, RISD Museum, Providence (2015); ‘Inside rooms drift in and out of sleep / While on the roof / An alphabet of aerials / Search for a language’, Eva Presenhuber, Zurich (2015); Museum für Gegenwartskunst, Basel (2015); ‘Stellar Remnants’, Johnen Galerie, Berlin (2014); ‘No Reflections’, Venice Biennale, Venice (Scotland + Venice. Touring to DCA, Dundee) (2009); ‘This Place is Close and Unfolded’, Westfälischer Kunstverein, Munster (2008); ‘Out Of This Sun, Into This Shadow’, Ikon Gallery, Birmingham (2008); ‘We Are Shipwrecked and Landlocked’, RMIT University Alumni Courtyard, Melbourne (with Kaldor Art Projects) (2008); ‘We Burn, We Shiver’, Sculpture Center, New York (With Ugo Rondinone) (2008); ‘A Lost Cat and Alleyways, Back Gardens, Pools and Parkways’, Centre d'Art Contemporain, Geneva (2007); ‘Electric Trees and Telephone Booth Conversations’, FRAC des Pays de la Loire, Carquefou, France (2007); ‘Broken Fall’, Kabinett fur Aktuelle Kunst, Bremerhaven (2005); ‘Dark Reflections’, Adolf Luther Prize, Krefeld Museum, Krefeld (2004); ‘Our Love is Like the Earth, the Sun the Trees and the Birth’, Contemporary Art Gallery, Vancouver (2003); ’For 1959 Capital Avenue’, Museum für Moderne Kunst, Frankfurt (2002); ’Our Love is Like the Flowers, the Rain, the Sea and the Hours’, Tramway, Glasgow (2002); ‘When Now Is Night’, Fruitmarket Gallery, Edinburgh (Part of Visions for the Future) (1999).

Boyce recently unveiled a major new commission ‘Remembered Skies’ at the Tate Britain (2017) as part of the Clore Galleries and currently lives and works in Glasgow.

Semestereröffnung und Hiscox-Preisverleihung 2020

We cordially invite you to the opening of the academic year 2020/21 as well as to the presentation of the Hiscox Art Prize on November 4 from 6 p.m. via livestream - offline with enough distance and yet together online.

Art defies Corona: Graduate Show 2020

With a two-month delay, the Graduate Show took place this year on the 19 and 20 September. More than 140 students showed their artistic graduation projects, from painting to sound installation.

Teaching Art Online at the HFBK

How the university brings together its artistic interdisciplinary study structure with digital formats and their possibilities.

New articles at is the social network of the HFBK. It opens a digital forum for exchange and discussion in which students, teachers, guest authors, art critics and the interested public provide a wide range of content and perspectives.

HFBK Graduate Survey

Studying art - and what comes next? The clichéd images stand their ground: Those who have studied art either become taxi drivers, work in a bar or marry rich. But only very few people could really live from art – especially in times of global crises. The HFBK Hamburg wanted to know more about this and commissioned the Faculty of Economics and Social Sciences at the University of Hamburg to conduct a broad-based survey of its graduates from the last 15 years.

How political is Social Design?

Social Design, as its own claim is often formulated, wants to address social grievances and ideally change them. Therefore, it sees itself as critical of society – and at the same time optimizes the existing. So what is the political dimension of Social Design – is it a motor for change or does it contribute to stabilizing and normalizing existing injustices?

Annual Exhibition 2020 at the HFBK

The HFBK’s traditional annual exhibition („Jahresausstellung“) opens in February every year. For three days the students – from first-years to post-graduates – present a broad spectrum of their current work and projects from all the different departments. All classrooms, studios and halls in the building are used. Interested visitors are cordially invited to gain an impression of the art currently being created at the HFBK.