Composed of two rectilinear pieces of glass, this work is part of a series of sculptures started in 2006. These transparent assemblages are in contact with the walls and floor of the exhibition space. The sculptures of this series are the same dimensions with different combinations. A large glass plaque associated with a smaller one recur to suggest the proportions of a human body. The glass plaques are joined simply with adhesive tape. The gaze must distinguish these in space, bodies need to work around them. The work plays on the tension between elements that are controlled (dimensions, balance) and those that are uncontrollable. These minimalist, transparent and perfect forms are nevertheless sharp enough to endanger the skin surface. The works in this series recall the large steel plaques by Richard Serra if only because they entirely integrate the possible collapse of the form.
Kitty Krauss has a very particular outlook on Minimal and Constructivist Art. She reinterprets certain historical forms by highlighting their sensitive dimension. She uses glass, ice, light, mirrors in works that toy with the tension between formal perfection and extreme fragility. References can be found to sculptures by Richard Serra but also by Joseph Beuys or Dan Flavin. She questions the Modernist myths, the aesthetic preconceptions of the art of the 1960s. The materials she uses are intentionally chosen to evoke the fragility and impermanence of things. Kitty Krauss was born in Heidelberg, Germany in 1976. She lives and works in Berlin.
This work emphasises Kitty Kraus’s involvement with process, with alchemical transformations associated with Post-Minimalist aesthetics, Arte Povera, Joseph Beuys and Robert Smithson...
Artists' Postcards: A Compendium, By Jeremy Cooper | The Independent | The Independent Of interest to students of art and deltiologists (collectors of postcards) alike, Jeremy Cooper's extensively illustrated book provides the first critical study of the place of the humble postcard in the history of art...
Weekly Southeast Asia Radar: Vietnam's post-war writers; Burmese voices in book | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia ArtsEquator Radar BACC October 8, 2020 ArtsEquator’s Southeast Asia Radar features articles and posts about arts and culture in Southeast Asia, drawn from local and regional websites and publications – aggregated content from outside sources, so we are exposed to a multitude of voices in the region...
The photographer capturing the eerie illustrations of Thai legend Hem Vejakorn (via SEA Globe) | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles September 21, 2018 Photographer Pattana Chuenmana has reimagined the illustrations of Hem Vejakorn, a well-known Thai artist and writer, in moving black-and-white still images...
Dutch Emerging: Ruben Janssen X GRA Fashion Bachelor 2023 – A Shaded View on Fashion From the back to the middle and around again — Ria’s wedding dress, Alan’s patterns and John’s model: ‘My project is an investigation into evolution, explored through prisms of biology, computation and a poetic personal narrative, shifting between timescales on an evolutionary timeline...
This work emphasises Kitty Kraus’s involvement with process, with alchemical transformations associated with Post-Minimalist aesthetics, Arte Povera, Joseph Beuys and Robert Smithson...
In New York City’s Chinatown, subject Suat Ling Chua’s morning exercise is to practice the hula hoop...
Milena Bonilla’s discursive practice explores connections among economics, territory, and politics through everyday interventions...
Fun Facts About Glassblowing You Didn’t Know Home » Fun Facts About Glassblowing You Didn’t Know ART Feb 5, 2024 Ξ Leave a comment Fun Facts About Glassblowing You Didn’t Know posted by Kelly Schoessling Learning glassblowing can be an interesting and rewarding experience for artisans and people from all walks of life...