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Marta Klonowska - "My glass animals open a new reality."

Marta Klonowska brings back to life animals that have only played secondary roles in pictures for hundreds of years.

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  • Ill. 1a: Henry the Pious of Saxony, 2003 - Henry the Pious of Saxony and his Wife Katherine of Mecklenburg after Lucas Cranach the Elder, 2003.
  • Ill. 1b: Henry the Pious of Saxony, 2003 - Henry the Pious of Saxony and his Wife Katherine of Mecklenburg after Lucas Cranach the Elder, 2003.
  • Ill. 2a: The Arnolfini Wedding, 2003 - The Arnolfini Wedding after Jan van Eyck, 2003.
  • Ill. 2b: The Arnolfini Wedding, 2003 - The Arnolfini Wedding after Jan van Eyck, 2003.
  • Ill. 3a: The Young Ones, 2003 - The Young Ones after Francisco de Goya, 2003.
  • Ill. 3b: The Young Ones, 2003 - The Young Ones after Francisco de Goya, 2003.
  • Ill. 4a: Portrait of the Duchess of Alba, 2003 - Portrait of the Duchess of Alba (red) after Francisco de Goya, 2003.
  • Ill. 4b: Portrait of the Duchess of Alba, 2003 - Portrait of the Duchess of Alba (red) after Francisco de Goya, 2003.
  • Ill. 5: The Morning Walk, 2004 - The Morning Walk after Thomas Gainsborough, 2004.
  • Ill. 6a: Presentation, 2005 - Presentation after Pietro Longhi, 2005.
  • Ill. 6b: Presentation, 2005 - Presentation after Pietro Longhi, 2005.
  • Ill. 7: Portrait of a Lady, 2006 - Portrait of a Lady Holding Her Pet Prince Charles Spaniel after Jan Verkolje, 2006.
  • Ill. 8a: Venus and Adonis, 2008 - Venus and Adonis after Peter Paul Rubens, 2008.
  • Ill. 8b: Venus and Adonis, 2008 - Venus and Adonis after Peter Paul Rubens, 2008.
  • Ill. 8c: Venus and Adonis, 2008 - Venus and Adonis after Peter Paul Rubens, 2008 (detail, exhibition “Streichelzoo”, museum kunst palast, Düsseldorf, 2008).
  • Ill. 9: Goat, 2008 - Goat after Alexander Keirincz and Cornelis van Poelenburch, 2008.
  • Ill. 10a: Large Kitchen Still Life, 2009 - Large Kitchen Still Life after Michel Bouillon, 2009.
  • Ill. 10b: Large Kitchen Still Life, 2009 - Large Kitchen Still Life after Michel Bouillon, 2009.
  • Ill. 11a: Lynx, 2009 - Lynx after a Sketchbook Page by Albrecht Dürer, 2009.
  • Ill. 11b: Lynx, 2009 - Lynx after a Sketchbook Page by Albrecht Dürer, 2009.
  • Ill. 12a: La Marquesa de Pontejos, 2011 - La Marquesa de Pontejos after Francisco de Goya, 2011.
  • Ill. 12b: La Marquesa de Pontejos, 2011 - La Marquesa de Pontejos after Francisco de Goya, 2011.
  • Ill. 12c: La Marquesa de Pontejos, 2011 - La Marquesa de Pontejos after Francisco de Goya, 2011.
  • Ill. 13: Maki, 2011 - Maki, 2011.
  • Ill. 14a: Lady Walking Her Dog, 2012 - Lady Walking Her Dog after Claude Louis Desrais, 2012.
  • Ill. 14b: Lady Walking Her Dog, 2012 - Lady Walking Her Dog after Claude Louis Desrais, 2012.
  • Ill. 15: Garden View with a Dog, 2014 - Garden View with a Dog after Tomas Yepes, 2014.
  • Ill. 16a: Demoiselle en Polonoise unie en Buras, 2014 - Demoiselle en Polonoise unie en Buras after Claude Louis Desrais, 2014.
  • Ill. 16b: Demoiselle en Polonoise unie en Buras, 2014 - Demoiselle en Polonoise unie en Buras after Claude Louis Desrais, 2014.
Marta Klonowska brings back to life animals that have only played secondary roles in pictures for hundreds of years.
Marta Klonowska brings back to life animals that have only played secondary roles in pictures for hundreds of years.

Klonowska recognises the staging in these images and reverses it. She liberates the animals from their existence as bit players and gives them the main role as precious, luminous, colourful beings that can no longer be perceived as glass animals, dangerous, remote and cold. Human beings, who are only represented by their shoes, now take on secondary roles. The artist comments on this in the following manner: “I create installations, which should lead the audience into a new universe. My animal figures are part of historical paintings, where they play a secondary role to the sitters. In my art the animals perform as the principal actor. Animals are difficult to understand and it is difficult to communicate with them. My glass animals open therefore a new reality, which is different from ours. The sitters in the painting, the animals and the audience of my art perform in a kind of theatrical stage, where the different levels become indistinct. This clash of realities should make us think about the uncertainties of life.”

Last not least the artist hides the “insecure nature of the world” in wit and irony. “Dogwalk” is the title of one of her exhibitions, despite the fact that her animal figures will never go anywhere for a walk, but stare rigidly and silently in Thomas Gainsborough’s corresponding painting, which shows an elegantly dressed aristocratic couple taking their dog for a morning walk. (1785, National Gallery London, Ill:. 5). “Petting Zoo” is the title of another exhibition, irrespective of the fact that visitors would cut their own bodies if they tried to put this into practice. In her installations and exhibitions Klonowska creates her own universe of historical and contemporary art and takes visitors into a world in which the role of animals can be observed in a more respectful manner.

 

Axel Feuß, December 2015

 

We should like to express our gratitude to the Galerie lorch+seidel contemporary, Berlin, for their cordial support.
http://www.lorch-seidel.de/artists/marta-klonowska