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7/9/2002

Silent Scream

Kenny Schachter ConTEMPorary, New York

Elke Krystufek

Elke Krystufek has created a multi-layered installation that extends the intricate crossmodal references characteristic of her exhibitions to include Vito Acconci's groundbreaking design for the exhibiting space, Kenny Schachter's conTEMPorary. Elements of her exhibition include paintings, photographs, videos, a sculpture, an installation, and a performance.

The exhibition derives its title, Silent Scream, from a series of eight photographs, which invites comparison with Edward Munch's famous painting(s), The Scream. But Krystufek's face is not frozen white by an anxiety so overwhelming that it can no longer be vocalized. The white face serves as canvas, as a projection wall, used by Krystufek to develop her own means of expression, not just of her fears, but also of those levels of interaction between the individual and its social environment that elude easy capture by vocalization.

These issues are further elaborated on in Performance for shortsighted people, Elke Krystufek's performance during the opening of the show. Participants are encouraged to interact with the artist by writing on her body, which will be painted white in its entirety.

Interaction is also addressed, albeit in an increasingly paradoxical manner, in some of the paintings. One "interactive painting" shows Krystufek against a background of colored diamond shapes and white. It is called "Fill in the empty spaces." Another painting informs us: "Interactive painting: Make your own photo!" Finally, there is a fragile chair sculpture with a pink circle on its seat that reads: "Interactive painting: Please take a seat." Following this suggestion most likely would destroy the sculpture. Would it also constitute an act of painting?

As the paintings in the show illustrate, Krystufek frequently employs the self-portrait as a medium for tackling other subject matters. This she achieves by incorporating texts, documents, photographs, even objects, into her paintings. Among the issues raised here are capitalist democracy, the role of suicide, architecture and public space, the impact of skin color, and the artist's peculiar experiences preparing for her participation in "Mirroring Evil," the controversial show at the Jewish Museum earlier this year. A significant part of the appeal of Krystufek's work lies precisely in how she succeeds in weaving such a diverse array of topics into the tapestry of her work.

In the Museum of Technology, Electrics, and Electronics, a broken fax/answering machine, two kitchen clocks (both running late), several worn out wrist watches, a mechanical type writer (a piece of paper describing the theft of the artist's laptop still in it), and assorted other items are scattered throughout the gallery, making use of the unique possibilities offered by Acconci's design. These items trace the connection between Krystufek, the human artifact, and the technological world at large, whose objects, once acquired, ever so quickly wear out or become obsolete. It is no accident that Krystufek raises this issue in Kenny Schachter's conTEMPorary, whose very architecture invites the visitor to ponder similarly disquieting questions with respect to art itself.

OPENING RECEPTION SUNDAY SEPTEMBER 8, 4-7PM

Kenny Schachter ConTEMPorary
14 Charles Lane, NYC 10014
212 807-6669 f. 645-0743

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