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In his conceptual artistic practice spanning photography, film, installation, and performance, Kay Walkowiak explores Western notions of modernity and claims of cultural universality. Created in 2017 for the Lahore Biennale in Pakistan, the eight-part photographic series „Rituals of Resistance“ draws on the visual language of ethnographic photography and stages monkeys interacting with minimalist objects. As the animals occupy the sculptures, hang out on them, or use them for their own “rituals,” the works of Western modernism become stripped of their supposedly universal significance. Walkowiak thus questions the relationship between nature and culture as well as the glorification of Western art traditions. In the spirit of a poetic reversal of colonial and art-historical power structures, his „Rituals of Resistance“ undermine the authority and validity of abstraction with playful ease.</schema:description><schema:artForm>Photography</schema:artForm><schema:url>https://sammlungtest.belvedere.at/objects/87551/rdf</schema:url></schema:VisualArtwork></schema:itemListElement><schema:itemListElement><schema:VisualArtwork><schema:image>/internal/media/dispatcher/124795/full</schema:image><schema:name>Rituals of Resistance #2</schema:name><schema:dateCreated>2017</schema:dateCreated><schema:creator>[Kay Walkowiak]</schema:creator><schema:creator>Kay Walkowiak</schema:creator><schema:artMedium>Archival pigment print on textile</schema:artMedium><schema:description>
In his conceptual artistic practice spanning photography, film, installation, and performance, Kay Walkowiak explores Western notions of modernity and claims of cultural universality. Created in 2017 for the Lahore Biennale in Pakistan, the eight-part photographic series „Rituals of Resistance“ draws on the visual language of ethnographic photography and stages monkeys interacting with minimalist objects. As the animals occupy the sculptures, hang out on them, or use them for their own “rituals,” the works of Western modernism become stripped of their supposedly universal significance. Walkowiak thus questions the relationship between nature and culture as well as the glorification of Western art traditions. In the spirit of a poetic reversal of colonial and art-historical power structures, his „Rituals of Resistance“ undermine the authority and validity of abstraction with playful ease.</schema:description><schema:artForm>Photography</schema:artForm><schema:url>https://sammlungtest.belvedere.at/objects/87552/rdf</schema:url></schema:VisualArtwork></schema:itemListElement><schema:itemListElement><schema:VisualArtwork><schema:image>/internal/media/dispatcher/124796/full</schema:image><schema:name>Rituals of Resistance #3</schema:name><schema:dateCreated>2017</schema:dateCreated><schema:creator>[Kay Walkowiak]</schema:creator><schema:creator>Kay Walkowiak</schema:creator><schema:artMedium>Archival pigment print on textile</schema:artMedium><schema:description>
In his conceptual artistic practice spanning photography, film, installation, and performance, Kay Walkowiak explores Western notions of modernity and claims of cultural universality. Created in 2017 for the Lahore Biennale in Pakistan, the eight-part photographic series „Rituals of Resistance“ draws on the visual language of ethnographic photography and stages monkeys interacting with minimalist objects. As the animals occupy the sculptures, hang out on them, or use them for their own “rituals,” the works of Western modernism become stripped of their supposedly universal significance. Walkowiak thus questions the relationship between nature and culture as well as the glorification of Western art traditions. In the spirit of a poetic reversal of colonial and art-historical power structures, his „Rituals of Resistance“ undermine the authority and validity of abstraction with playful ease.</schema:description><schema:artForm>Photography</schema:artForm><schema:url>https://sammlungtest.belvedere.at/objects/87553/rdf</schema:url></schema:VisualArtwork></schema:itemListElement><schema:itemListElement><schema:VisualArtwork><schema:image>/internal/media/dispatcher/124797/full</schema:image><schema:name>Rituals of Resistance #4</schema:name><schema:dateCreated>2017</schema:dateCreated><schema:creator>[Kay Walkowiak]</schema:creator><schema:creator>Kay Walkowiak</schema:creator><schema:artMedium>Archival pigment print on textile</schema:artMedium><schema:description>
In his conceptual artistic practice spanning photography, film, installation, and performance, Kay Walkowiak explores Western notions of modernity and claims of cultural universality. Created in 2017 for the Lahore Biennale in Pakistan, the eight-part photographic series „Rituals of Resistance“ draws on the visual language of ethnographic photography and stages monkeys interacting with minimalist objects. As the animals occupy the sculptures, hang out on them, or use them for their own “rituals,” the works of Western modernism become stripped of their supposedly universal significance. Walkowiak thus questions the relationship between nature and culture as well as the glorification of Western art traditions. In the spirit of a poetic reversal of colonial and art-historical power structures, his „Rituals of Resistance“ undermine the authority and validity of abstraction with playful ease.</schema:description><schema:artForm>Photography</schema:artForm><schema:url>https://sammlungtest.belvedere.at/objects/87554/rdf</schema:url></schema:VisualArtwork></schema:itemListElement><schema:itemListElement><schema:VisualArtwork><schema:image>/internal/media/dispatcher/124798/full</schema:image><schema:name>Rituals of Resistance #5</schema:name><schema:dateCreated>2017</schema:dateCreated><schema:creator>[Kay Walkowiak]</schema:creator><schema:creator>Kay Walkowiak</schema:creator><schema:artMedium>Archival pigment print on textile</schema:artMedium><schema:description>
In his conceptual artistic practice spanning photography, film, installation, and performance, Kay Walkowiak explores Western notions of modernity and claims of cultural universality. Created in 2017 for the Lahore Biennale in Pakistan, the eight-part photographic series „Rituals of Resistance“ draws on the visual language of ethnographic photography and stages monkeys interacting with minimalist objects. As the animals occupy the sculptures, hang out on them, or use them for their own “rituals,” the works of Western modernism become stripped of their supposedly universal significance. Walkowiak thus questions the relationship between nature and culture as well as the glorification of Western art traditions. In the spirit of a poetic reversal of colonial and art-historical power structures, his „Rituals of Resistance“ undermine the authority and validity of abstraction with playful ease.</schema:description><schema:artForm>Photography</schema:artForm><schema:url>https://sammlungtest.belvedere.at/objects/87555/rdf</schema:url></schema:VisualArtwork></schema:itemListElement><schema:itemListElement><schema:VisualArtwork><schema:image>/internal/media/dispatcher/124799/full</schema:image><schema:name>Rituals of Resistance #6</schema:name><schema:dateCreated>2017</schema:dateCreated><schema:creator>[Kay Walkowiak]</schema:creator><schema:creator>Kay Walkowiak</schema:creator><schema:artMedium>Archival pigment print on textile</schema:artMedium><schema:description>
In his conceptual artistic practice spanning photography, film, installation, and performance, Kay Walkowiak explores Western notions of modernity and claims of cultural universality. Created in 2017 for the Lahore Biennale in Pakistan, the eight-part photographic series „Rituals of Resistance“ draws on the visual language of ethnographic photography and stages monkeys interacting with minimalist objects. As the animals occupy the sculptures, hang out on them, or use them for their own “rituals,” the works of Western modernism become stripped of their supposedly universal significance. Walkowiak thus questions the relationship between nature and culture as well as the glorification of Western art traditions. In the spirit of a poetic reversal of colonial and art-historical power structures, his „Rituals of Resistance“ undermine the authority and validity of abstraction with playful ease.</schema:description><schema:artForm>Photography</schema:artForm><schema:url>https://sammlungtest.belvedere.at/objects/87556/rdf</schema:url></schema:VisualArtwork></schema:itemListElement><schema:itemListElement><schema:VisualArtwork><schema:image>/internal/media/dispatcher/124800/full</schema:image><schema:name>Rituals of Resistance #7</schema:name><schema:dateCreated>2017</schema:dateCreated><schema:creator>[Kay Walkowiak]</schema:creator><schema:creator>Kay Walkowiak</schema:creator><schema:artMedium>Archival pigment print on textile</schema:artMedium><schema:description>
In his conceptual artistic practice spanning photography, film, installation, and performance, Kay Walkowiak explores Western notions of modernity and claims of cultural universality. Created in 2017 for the Lahore Biennale in Pakistan, the eight-part photographic series „Rituals of Resistance“ draws on the visual language of ethnographic photography and stages monkeys interacting with minimalist objects. As the animals occupy the sculptures, hang out on them, or use them for their own “rituals,” the works of Western modernism become stripped of their supposedly universal significance. Walkowiak thus questions the relationship between nature and culture as well as the glorification of Western art traditions. In the spirit of a poetic reversal of colonial and art-historical power structures, his „Rituals of Resistance“ undermine the authority and validity of abstraction with playful ease.</schema:description><schema:artForm>Photography</schema:artForm><schema:url>https://sammlungtest.belvedere.at/objects/87557/rdf</schema:url></schema:VisualArtwork></schema:itemListElement><schema:itemListElement><schema:VisualArtwork><schema:image>/internal/media/dispatcher/124801/full</schema:image><schema:name>Rituals of Resistance #8</schema:name><schema:dateCreated>2017</schema:dateCreated><schema:creator>[Kay Walkowiak]</schema:creator><schema:creator>Kay Walkowiak</schema:creator><schema:artMedium>Archival pigment print on textile</schema:artMedium><schema:description>
In his conceptual artistic practice spanning photography, film, installation, and performance, Kay Walkowiak explores Western notions of modernity and claims of cultural universality. Created in 2017 for the Lahore Biennale in Pakistan, the eight-part photographic series „Rituals of Resistance“ draws on the visual language of ethnographic photography and stages monkeys interacting with minimalist objects. As the animals occupy the sculptures, hang out on them, or use them for their own “rituals,” the works of Western modernism become stripped of their supposedly universal significance. Walkowiak thus questions the relationship between nature and culture as well as the glorification of Western art traditions. In the spirit of a poetic reversal of colonial and art-historical power structures, his „Rituals of Resistance“ undermine the authority and validity of abstraction with playful ease.</schema:description><schema:artForm>Photography</schema:artForm><schema:url>https://sammlungtest.belvedere.at/objects/87559/rdf</schema:url></schema:VisualArtwork></schema:itemListElement><schema:itemListElement><schema:VisualArtwork><schema:image>/internal/media/dispatcher/117888/full</schema:image><schema:name>Minimal Vandalism</schema:name><schema:dateCreated>2012/2013</schema:dateCreated><schema:creator>[Kay Walkowiak]</schema:creator><schema:creator>Kay Walkowiak</schema:creator><schema:artMedium>HD-Video mit Installation (Beton, Lack, Stahl, Holz)</schema:artMedium><schema:artForm>Film/video art</schema:artForm><schema:url>https://sammlungtest.belvedere.at/objects/85612/rdf</schema:url></schema:VisualArtwork></schema:itemListElement><schema:itemListElement><schema:VisualArtwork><schema:image>/internal/media/dispatcher/117910/full</schema:image><schema:name>Minimal Vandalism</schema:name><schema:dateCreated>2012/2013</schema:dateCreated><schema:creator>[Kay Walkowiak]</schema:creator><schema:creator>Kay Walkowiak</schema:creator><schema:artMedium>HD-Video, Farbe und Ton, 16:9</schema:artMedium><schema:artForm>Film/video art</schema:artForm><schema:url>https://sammlungtest.belvedere.at/objects/85614/rdf</schema:url></schema:VisualArtwork></schema:itemListElement><schema:itemListElement><schema:VisualArtwork><schema:image>/internal/media/dispatcher/117911/full</schema:image><schema:name>Minimal Vandalism (Plateau)</schema:name><schema:dateCreated>2012</schema:dateCreated><schema:creator>[Kay Walkowiak]</schema:creator><schema:creator>Kay Walkowiak</schema:creator><schema:artMedium>Beton, Lack, 20 Platten</schema:artMedium><schema:artForm>Sculpture</schema:artForm><schema:url>https://sammlungtest.belvedere.at/objects/85615/rdf</schema:url></schema:VisualArtwork></schema:itemListElement><schema:itemListElement><schema:VisualArtwork><schema:image>/internal/media/dispatcher/117912/full</schema:image><schema:name>Minimal Vandalism (Grid)</schema:name><schema:dateCreated>2012</schema:dateCreated><schema:creator>[Kay Walkowiak]</schema:creator><schema:creator>Kay Walkowiak</schema:creator><schema:artMedium>Stahl, Lack</schema:artMedium><schema:artForm>Sculpture</schema:artForm><schema:url>https://sammlungtest.belvedere.at/objects/85616/rdf</schema:url></schema:VisualArtwork></schema:itemListElement><schema:itemListElement><schema:VisualArtwork><schema:image>/internal/media/dispatcher/117913/full</schema:image><schema:name>Minimal Vandalism (Lines 1)</schema:name><schema:dateCreated>2012</schema:dateCreated><schema:creator>[Kay Walkowiak]</schema:creator><schema:creator>Kay Walkowiak</schema:creator><schema:artMedium>Beton, Stahl, Lack, 3 Platten</schema:artMedium><schema:artForm>Sculpture</schema:artForm><schema:url>https://sammlungtest.belvedere.at/objects/85617/rdf</schema:url></schema:VisualArtwork></schema:itemListElement><schema:itemListElement><schema:VisualArtwork><schema:image>/internal/media/dispatcher/117913/full</schema:image><schema:name>Minimal Vandalism (Lines 2)</schema:name><schema:dateCreated>2012</schema:dateCreated><schema:creator>[Kay Walkowiak]</schema:creator><schema:creator>Kay Walkowiak</schema:creator><schema:artMedium>Beton, Stahl, Lack, 3 Platten</schema:artMedium><schema:artForm>Sculpture</schema:artForm><schema:url>https://sammlungtest.belvedere.at/objects/85618/rdf</schema:url></schema:VisualArtwork></schema:itemListElement><schema:itemListElement><schema:VisualArtwork><schema:image>/internal/media/dispatcher/117914/full</schema:image><schema:name>Minimal Vandalism (Rack)</schema:name><schema:dateCreated>2012</schema:dateCreated><schema:creator>[Kay Walkowiak]</schema:creator><schema:creator>Kay Walkowiak</schema:creator><schema:artMedium>Stahl, Lack</schema:artMedium><schema:artForm>Sculpture</schema:artForm><schema:url>https://sammlungtest.belvedere.at/objects/85619/rdf</schema:url></schema:VisualArtwork></schema:itemListElement><schema:itemListElement><schema:VisualArtwork><schema:image>/internal/media/dispatcher/117915/full</schema:image><schema:name>Minimal Vandalism (Box)</schema:name><schema:dateCreated>2012</schema:dateCreated><schema:creator>[Kay Walkowiak]</schema:creator><schema:creator>Kay Walkowiak</schema:creator><schema:artMedium>Holz, Lack</schema:artMedium><schema:artForm>Sculpture</schema:artForm><schema:url>https://sammlungtest.belvedere.at/objects/85620/rdf</schema:url></schema:VisualArtwork></schema:itemListElement><schema:itemListElement><schema:VisualArtwork><schema:image>/internal/media/dispatcher/49550/full</schema:image><schema:name>Sakura Bar</schema:name><schema:dateCreated>2011</schema:dateCreated><schema:creator>[Valentin Ruhry, Kay Walkowiak]</schema:creator><schema:creator>Valentin Ruhry</schema:creator><schema:artMedium>Powder-coated metal, plastics, wood, neon tubes, concrete, electronics</schema:artMedium><schema:description>Ausgehend von der Grundform des Kubus und einem verdichteten Umgang mit Material, Raum und Farben knüpfen Valentin Ruhry und Kay Walkowiak mit ihrer Bar Sakura an die historische Bedeutung von Skulptur an, wodurch unmittelbare Räume der Berührung in einem funktional-installativen Setting erschlossen werden. — Im Modus einer minimalistischen Formensprache wird durch eine Gegenüberstellungen von Material und deren Ästhetik eine visuelle Balance choreografiert: Materialität und Form, Funktion und Abstraktion, sowie stereotyp-konnotierte maskuline und feminine Oberflächen und Farben treffen in der installativen Zusammenstellung der einzelnen Elemente der Bar aufeinander. Zarten Elementen, wie die in hellen Pastelltönen gemusterten Holzplatten, stehen Bautröge und schwere Betonplatten gegenüber, die rau und unbehandelt sind. — Anstatt einer permanent fixierten Zusammenstellung der einzelnen Teile, adaptiert Sakura eine offene Form der Aufstellung und spielt so mit dem momentanen Stillstand und dem gleichzeitig eingeschriebenen Potenzial von Bewegung. Trotz der geraden und präzisen Formen vermittelt Sakura in der Impermanenz seiner Konfiguration einen subtilen Vorschlag der Möglichkeiten von Bewegung und Veränderung. Der Besucher findet sich so als partizipativer Teil einer skulpturalen Installation wieder – einer einfachen Bar als „stage set“. — [Valentin Ruhry, 2012]</schema:description><schema:artForm>Object art</schema:artForm><schema:url>https://sammlungtest.belvedere.at/objects/32834/rdf</schema:url></schema:VisualArtwork></schema:itemListElement></schema:ItemList></rdf:RDF>