Krystyna Ziach
kunstinzicht.nlVer=Hier, The Netherlands Photography Museum, Sittard, NL, curated by Coen Eggen
08-10-1993 t/m 02-01-1994
Catalogue, published by the Netherlands Photography Museum, 1993, Sittard, NL
Including work from the series Melancholy
Lambda-print, 150 x 140 cm
Melancholy 1989-1990
Collection Museum Het Domein, Sittard, NL
/.../ Painted expressionist elements return in Melancholy, but now in a more stylized form. Human figures seem confined by geometric and crystalline structures. The mirror turns up several times, referring to the tradition of the trompe-l’oeil, the illusion of space in art. Ziach’s inspiration for Melancholy came from the geniuses of art history, Albrecht Dürer, Leonardo da Vinci and Kasimir Malevich. Like Ziach herself, these artists were captivated by the ambivalent longing for the unity between mathematical order and absolute emotion. Malevich’s black cross for instance, is composed of five squares which are to symbolize pure emotion. Ziach’s Black Cross of Malevich is a lyrical adaptation of this painting. With the – expressively painted – cross as a frame, she photographed a naked woman in a variant of Da Vinci’s ‘homo universalis’/../
*read more: Krystyna Ziach/A Chamber of Mirrors 1984-1994, text by Iris Dik, 1994, on the website: www.krystynaziach.com/documents
Solo exhibition A Garden of Illusion, installation, Ram Galerie, Rotterdam
23-05-1993 t/m 27-06-1993
Ram Gallery, Rotterdam, 1993, NL
This installation is composed of photo-sculptures, photoworks, diasec, mirrors, wooden frames and blue pigment
With Garden of Illusion Krystyna Ziach seems to break away from her former expressivity and to assume a rather more conceptual, minimalistic posture. Yet it would seem to me that her work, when seen in retrospective, evolves as a pendulum with emotionality and rationality alternately dominating the visual means. The clarity of shapes–for geometry has now moved to the frames of the images– the irritation by mirrors, the secret of the curtain, the enigma of the opposites, do not allow for univocal explanations. As the images reflect and duplicate each other, the observer becomes merely conscious that he does not face copies of reality, but illusions of reality the content of which has to be explored.
Reinhold Misselbeck, former curator for photography and new media of the Ludwig Museum in Cologne, from the text accompanying the solo exhibition A Chamber of Mirrors in the Netherlands Photography Museum in Sittard, 1994, NL
* read more: A Chamber of Mirrors / Krystyna Ziach, text by Reinhold Misselbeck, 1994; Krystyna Ziach / A Chamber of Mirrors 1984-1994, text by Iris Dik, 1994, on the website: www.krystynaziach.com/documents
Personal catalogue, text by Iris Dik, 32 pages, published by Magazine FOTO, 1993, NL
Ram Gallery, 1993, Rotterdam, NL
This installation is composed of photo-sculptures, photoworks, diasec, mirrors, wooden frames and blue pigment
Photo-sculpture, 1992, lambda-print, 180 x 127 cm, diasec, 2 mirrors, 200 x 65 cm each, wooden frames
Ram Gallery, Rotterdam, 1993, NL
Ram Gallery, 1993, Rotterdam, NL
This installation is composed of photo-sculptures, photoworks, diasec, mirrors, wooden frames and blue pigment
Photo-sculpture, lambda-print, 180 x 127 cm, diasec, 2 mirrors, 200 x 65 cm each, wooden frames
Ram Gallery, Rotterdam, 1993
Photo-sculpture, lambda-print, mirror, 183 x 160 cm each, diasec, wooden frames
Ram Gallery, Rotterdam 1993