Elke Silvia Kristufek ( German: Elke Silvia Krystufek ; born 1970 ) - an Austrian artist working in the style of conceptualism ; teacher; lives and works in Berlin and Vienna .
| Elke Christoufek | |
|---|---|
| him. Elke Silvia Krystufek | |
| Date of Birth | |
| Place of Birth | Vienna , Austria |
| A country | |
| Style | conceptualism |
| Awards | [d] ( 2003 ) |
| Site | |
Content
Biography
Elke Kristufek studied at the Vienna Academy of Fine Arts from 1988 to 1993 under the direction of Arnulf Rainer. Then she taught as a visiting professor at the University of the Arts in Linz (2001-2002), and from 2005 to 2006 she held a similar position at the State Academy of Fine Arts in Karlsruhe and, at the same time, was a professor at the Academy of Fine Arts in Vienna. As an artist, Kristufek works in various fields: including painting, sculpture, video art and performance [4] [5] .
Works and criticism
The work of Elke Kristufek, which conducted a study of sexuality in art, was created under the influence of the school of Austrian artists: from Egon Schiele to Vienna actionists . Kristufek was an artist and writer who devoted her life to work - she set as her goal to cross the border between private and public (public) life. She uses her image and her body as an object of art - moreover, often provocative - which emphasizes the current position of the female body in the context of gender identity [6] [7] .
Since her first major solo exhibition at the 1997 Secession in Vienna, Elk has been working on a project she called the Archive [8] [9] . For another of her collections, entitled “I am your mirror,” consisting of a series of small format photographs, Kristufek drew inspiration from the documentary works of photographer Nan Goldin and the work “Atlas” by German artist Gerhard Richter . Following her Liquid Logic exhibit, Peter Noivera, director of the Vienna Museum of Applied Arts, gave Elka full access to all the vaults and storage rooms of both the Museum of Art and the Museum of Applied Art. This allowed her to compare thematically selected objects from the museum’s collections, which were rarely exhibited [10] . In addition, Kristufek found connections of her work with the biography of the Dutch-American artist Bas Jan Ader [6] [11] .
“You cannot shock us, Damien,” with these words at one of her collages, Christoufek turned to the English artist Damien Hirst in absentia, whose vivisection of animals became a big sensation in London in the early 1990s. Professor James E. Young interpreted this statement by a young Austrian artist as an attempt to go beyond the recurring circle of images of victims (in particular, victims of the Holocaust ) and turn the "accusatory gaze" on the killers themselves. In his opinion, the only more shocking than the images of suffering victims, for the artist could only be the depravity of people who caused such suffering [12] .
In 2009, Elke Kristufek, together with three other contemporary Austrian artists, represented Austria at the 53rd Venice Art Biennale [13] . During this exhibition, she presented her work with a theme rare for contemporary art - a nude male model created by a heterosexual female artist, named by her “Taboo”.
Following her solo exhibition in Los Angeles in February 2011, Susanne Vielmetter Los Angeles Projects Gallery included a part of the Archive by Kristufek in her immigration collection. April 13, 2011 the premiere of the play "Hub" in the Vienna theater "Garage X". On May 27, in the Austrian city of Grafenegg - in a castle park - at the request of the director of the local museum, her first sculpture, “Wall of Silence,” was destroyed. The documentation of the destruction and a fragment of the sculpture were donated by the author of the Lower Austrian Museum "Landesmuseum Niederösterreich" [14] .
Notes
- ↑ German National Library , Berlin State Library , Bavarian State Library , etc. Record # 119508761 // General regulatory control (GND) - 2012—2016.
- ↑ Union List of Artist Names
- ↑ Benezit Dictionary of Artists - 2006. - ISBN 978-0-19-977378-7 , 978-0-19-989991-3
- ↑ Grosenick, Becker, 2001 , p. 16,288.
- ↑ Köpf, 2015 .
- ↑ 1 2 Schmid, 2008 , p. 307-324.
- ↑ Grosenick, Becker, 2001 , p. 16,293.
- ↑ Horst, 1997 .
- ↑ Hofleitner, 1997 .
- ↑ Jardi, 2007 , p. 64–69.
- ↑ Kotik, 2007 , p. 153-166.
- ↑ Young, 2002 , p. xv — xvi.
- ↑ e-flux, 2009 .
- ↑ Fessl, 2011 .
Literature
- Books
- Schmid Ch. Shocking die Audience, Shocking the Artist: Aesthetic Affinities to the Avant-Garde in Elke Krystufek's Work // After the Avant-Garde: Contemporary German and Austrian Experimental Film / ed. R. Halle , R. Steingröver . - Camden House, 2008 .-- 371 p. - (Screen Cultures: German Film and the Visual). - ISBN 978-1571133656 .
- Kotik Ch. Post-Totalitarian Art: Eastern and Central Europe // Global Feminisms: New Directions in Contemporary Art / ed. M. Reilly , L. Nohlin . - Merrell Publishers, 2007 .-- 304 p. - ISBN 978-1858943909 .
- Young JE Foreword: Looking into the Mirrors of Evil // Mirroring Evil: Nazi Imagery / Recent Art / ed. . - Rutgers University Press, 2002 .-- 280 p. - ISBN 978-0813529608 .
- Grosenick U. , Becker I. Women Artists in the 20th and 21st Century. - Taschen, 2001 .-- 576 p. - (Taschen Specials Series). - ISBN 9783822858547 .
- Articles
- Horst ch. Peep show. Obsessiv spielerisch: Elke Krystufeks Ausstellung in der Secession // Profil. - 1997. - February 10.
- Hofleitner J. Der Körper - nackt, bekleidet, verkleidet. In der Wiener Secession geben sich Elke Krystufek, Maurizio Catellan und Peter Land ein interessantes Stelldichein // Die Presse . - 1997. - February 3.
- Köpf S. Elke Krystufek // Sammlung Essl. - 2015.
- Jardi P. Identidad y Representacion = Identity and Representation // Lapiz. - 2007. - Issue. 26 . - No. 236 . - S. 64–69 .
- 53rd Venice Biennale // e-flux. - 2009. - May 3.
- Fessl K. Elke Krystufek: Wall of Silence // Grafeneg. - 2011.