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クリスチャン・ヤンコフスキー

Christian Jankowski

Works

  •  | 2018 | Photo by Roman März
  •  | 2018 | Photo by Roman März
  •  | 2018 | Photo by Roman März
  •  | 2017 | Photo by Adam Sakovy
  •  | 2017 | Photo by Adam Sakovy
  •  | 2017
  •  | 2017
  •  | 2017
  •  | 2017
  • Neue Malerei | 2018 | Photo by Roman März
  • Neue Malerei | 2018 | Photo by Roman März
  • Neue Malerei | 2018 | Photo by Roman März
  • Walking Logic | 2017 | Photo by Adam Sakovy
  • Walking Logic | 2017 | Photo by Adam Sakovy
  • Walking Logic | 2017
  • Massage Masters | 2017
  • Massage Masters | 2017
  • Massage Masters | 2017

Biography

1968年ゲッティンゲン(ドイツ)生まれ 。ベルリン在住。ハンブルク美術大学卒業。映像、写真、パフォーマンスを中心に、芸術に限らずさまざまな分野のスペシャリストと協働し、コンセプチュアルでウィットに富んだ作品を制作することで知られる。毎年ヨーロッパを中心に世界中での複数回の個展のほか、国際展をはじめとしたグループ展にも精力的に参加。また、マニフェスタ 11(2016)では芸術監督を務めるなど、キュレーションの分野についてもその手腕を発揮している。ヨコハマトリエンナーレ 2017では身体と公共彫刻の関係性について言及する三部作《重量級の歴史》(2013)、《アーティスティック・ジムナスティック》(2014)、《マッサージ・マスター ズ》(2017)を出品。シュトゥットガルト芸術アカデミー教授。

Christian Jankowski was born in 1968 in Göttingen, Germany, and studied at the University of Fine Arts, Hamburg, in Germany. In his conceptual and media artworks he makes use of film, video, photography and performance, but also of painting, sculpture, and installation. He lives in Berlin.

Jankowski’s work consists of performative interactions between himself with non-art professionals, between contemporary art and the so-called ‘world outside of art’. These interactions give insight into the popular understanding of art, while incorporating many of contemporary art’s leading interests in contemporary society: regarding lifestyle, psychology, rituals and celebrations, self-perception, competition, and mass-produced and luxury commodities. Over time, Jankowski has collaborated with magicians, politicians, news anchors, and members of the Vatican, to name just a few. In each case, the context for the interaction and the participants are given a degree of control over how Jankowski’s work develops and the final form that it takes. Jankowski documents these performative collaborations using the mass media formats that are native to the contexts in which he stages his work – film, photography, television, print media – which lends his work its populist appeal. Jankowski’s work can be seen both as a reflection, deconstruction, and critique of a society of spectacle and at the same time as reflection, deconstruction, and critique of art, which has given itself over to spectacle and thereby endangered its critical potential.