Krystyna Ziach
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Over het werkFluid Time / Krystyna Ziach 2021-2024, ENG, FR, NLKrystyna Ziach’s Spaces of Sculptural Imagination, text by Christian Gattinoni, chief editor of lacritique.org 2015, ENG, FRSpace of Imagination/Krystyna Ziach,book, text by H. Rooseboom, curator of photography Rijksmuseum Amsterdam, 2014 ENG, FR, NLKRYSTYNA ZIACH, MERGED DISCIPLINES, text Hans Rooseboom, curator of photography Rijksmuseum Amsterdam, 2014, ENG, FR, NLDark Street Revisited, 2013, ENG, FR, NLWork of Krystyna Ziach in collection of the Rijksmuseum Amsterdam, 2012, ENG, FR, NL, PLEphemeral Library 2010-2018, ENG, FR, NLInto the Void 2010-2017, ENG, FR, NLInner Eye / Krystyna Ziach, by Joanne Dijkman, 2008, ENG, FR, NLInfinity & Archê/Krystyna Ziach, book texts Flor Bex, director Museum of Contemporary Art, Muhka Antwerp, 2006, ENG, FR, NLThe Elements of Existence / Krystyna Ziach - ARCHÊ, by Cees Strauss, 1996, ENGArchê - The Ambivalence of Water and Fire / Krystyna Ziach, by Mirelle Thijsen, 1996, ENG, FRKrystyna Ziach - Where Emotion Meets Reason, by Cees Straus, 1994, ENGA Chamber of Mirrors, text Reinhold Misselbeck, curator of photography & new media of the Ludwig Museum, Cologne,1994, ENG, FRA Garden of Illusion / Krystyna Ziach, 1993, text by Iris Dik, ENG, FROuter Space / Krystyna Ziach, text by Alexandra Noble, curator of the South Bank Centre in London,1991, ENG, FRMelancholy / Krystyna Ziach - Drama Between Ratio and Emotion, text by Mirelle Thijsen, 1990, ENG, FRJapan / Krystyna Ziach, by Huib Dalitz, a former director of the Foundation of Visual Arts Amsterdam, 1988, ENG, FRKrystyna Ziach / Metamorphosis, text by Gabriel Bauret, Camera International, 1986, Paris, ENG
September 1, 2015, blog, ENG, FR
Christian Gattinoni is an art critic based in France and the chief editor of the French site of art critics lacritique.org
/.../ Having received her education as a sculptress in the city of Cracow in her native Poland, Krystyna Ziach developed her body of work around the tensions between the plane of photography and its possibilities for 3D creation. Today she lives and works in Amsterdam. The seemingly retrospective exhibition which was devoted to her work by museum Beelden aan Zee in The Hague, is accompanied by a reference work, Space of Imagination. The exhibition was organized by Hans Rooseboom, curator for photography at the Rijksmuseum Amsterdam. The book opens with various works concerned with the relationship between body and sculpture, that allow us to revisit art history: the illusory play with geometric space of the painted nudes of the series Geometry of 1985. The following year the same techniques advance from studies that are still in black and white, to the corporal framing systems created by Francis Bacon. The transition to color then combines the body with metallic structures for the triptych The Splendid Decadence of Kabuki and in 1989 a painted body follows the spatial illusion of the mixed works of the series The Black Cross of Malevich. The imaginary museum becomes complete with a homage to Dürer which elaborates on the Chamber of Mirrors and with her Spaces of Imagination which we were allowed to admire at the Netherlands Photography Museum in 1994. The second period of ‘photography as sculpture’ which begins in 1988 and continues to the present day, shows mixed works incorporated in monumental installations. We again find references to other cultures, such as in the triptych The Anatomy of the Big Buddha, or works that are more in line with the atmospheric in relation to the face and the skin, such as In the Mirror of Your Eyes (1992) or Sweat (1995). The sensuality of such pieces manifests itself in a very powerful work such as The Fountain of Time (2001). During the same period the artist produces video sculpture such as Blue Core, which offers an immersive space to the viewer. In her relation with Japan she continues her experiments with more traditionally presented photo works in Imperial Gardens (2003). She creates serial ensembles with the use of industrially manufactured miniature Buddha’s and gravestones, that allow her to approach the concept of Infinity(2003), or bales of paper prior to recycling which she constitutes into an Ephemeral Library (2013). In her relations with art history and with other, in particular eastern, civilisations, Krystyna Ziach develops, with an immense exactingness, a spiritual body of work with a great richness of plasticity" /.../
Les espaces d’imagination sculpturale de Krystyna Ziach par Christian Gattinoni, 2015
Christian Gattinoni est un critique d’art et vie en France
Ayant reçu à Cracovie dans son pays d’origine une formation de sculptrice Krystyna Ziach a développé son œuvre autour des tensions entre la platitude de la photographie et ses possibles devenir 3D. Vivant et travaillant aujourd’hui à Amsterdam l’exposition quasi rétrospective que lui a consacré le musée Beelden aan Zee de La Hague s’accompagne
d’un ouvrage de référence Space of imagination, exposition organisée par Hans Rooseboom, conservateur pour la photographie au Rijksmuseum d’Amsterdam. Ce livre s’ouvre sur diverses œuvres qui nous permettent de revisiter l’histoire de l’art dans les liens entre corps et sculpture. Ce sont les jeux d’illusion d’espace géométrisé par les nus peints de la série Geomerty de 1985. L’année suivante les mêmes techniques avancent des études toujours en noir et blanc aux systèmes d’encadrements corporels mis en place par Francis Bacon. Le passage à la couleur combine ensuite corps et structures métalliques pour le triptyque The Splendid Decadence of Kabuki et en 1989 un corps pictural poursuit l’illusion spatiale des œuvres mixtes de la série The Black Cross of Malevich. Le musée imaginaire se complète d’un hommage à Dürer qui ouvre sur la Chambre des miroirs et à ses Espaces d’Imagination que l’on a pu admirer au Netherlands Photography Museum en 1994. La seconde période de la photographie comme sculpture commençant en 1988 et se poursuivant jusqu’à nos jours montre des œuvres mixtes incorporées dans des installations monumentales. On y retrouve des références à d’autres cultures comme dans le triptyque The Anatomy of the Big Buddha, ou des œuvres plus en lien à l’atmosphérique en relation au visage et à la peau telle In the Mirror of Your Eyes (1992) ou Sweat (1995). La sensualité de telles pièces se manifeste dans une œuvre d’une grande puissance comme The Fountain of Time (2001). Durant cette même période l’artiste produit des vidéo-sculptures comme Blue Core où est proposé un espace immersif au spectateur. Dans sa relation au Japon elle poursuit ses expérimentations avec des œuvres photographiques plus traditionnellement présentées dans ses Imperial Gardens (2003). Elle produit des ensembles sériels utilisant des bouddhas miniatures manufacturés, des pierres tombales qui lui permettent d’approcher le concept d’Infinity (2003) ou des ballots de papiers avant recyclage qu’elle constitue en Ephemeral Library (2013).Dans ses rapports à l’histoire de l’art comme à d’autres civilisations notamment orientales Krystyna Ziach développe avec une immense exigence une oeuvre spirituelle d’une grande prégnance plastique.