kuk

Exhibition view

Head Woman, cement, wood, metal, 70 x 40 x 40 cm, unique, 2017

Head Woman, cement, wood, metal, 70 x 40 x 40 cm, unique, 2017

Exhibition view

Head Man, cement, wood, metal, 70 x 40 x 40 cm, unique, 2017

Head Man, cement, wood, metal, 70 x 40 x 40 cm, unique, 2017

Head Man, cement, wood, metal, 70 x 40 x 40 cm, unique, 2017

Fist, cement, wood, metal, 45 x 40 x 40 cm, unique, 2017

Fist, cement, wood, metal, 45 x 40 x 40 cm, unique, 2017

Blessing, cement, wood, metal, 45 x 40 x 40 cm, unique, 2017

Trigger, cement, wood, metal, 45 x 40 x 40 cm, unique, 2017

TIME Mag Covers (Collages), 2015

TIME Mag Covers (Collages), 2015

Masked (Ed. 5+1), concrete, 2017

Full life jacket, concrete, 60 x 40 x 15 cm, ed. of 15, 2017

Full life jacket, concrete, 60 x 40 x 15 cm, ed. of 15, 2017

Exhibition view

Window, 2017, steel, concrete, 90 x 40 x 15 cm, unique, 2017

Exhibition view at Washington 186 / aeroplastics contemporary, Brussels 

Exhibition view

Torso (woman), cement, wood, metal, 100 x 70 x 40 cm, unique, 2017

Torso (woman), cement, wood, metal, 100 x 70 x 40 cm, unique, 2017

ROBERT KUNEC

COLLATERAL DAMAGE
at krupic kersting, Cologne and aeroplastics contemporary, Brussels 26. April – 27. May/ 04. June 2017

Robert Kunec, *1978, sculptor, calls his show „Collateral Damage“ emphasising on rescue- and military missions. He takes the trivialising term „collateral damage“ as starting point for new sculptures that resemble - in their fragmentation - destroyed archaeological artifacts.

Kunec motifs take the primary archaeological association ad absurdum. The cuts are initially lead by the principle of randomness. The fragment’s rearrangements are then characterized by a conscious choreography thus making the sculptures appear as metaphors for the resolution of identities.

In addition to partially destroyed naked torsi (shown at aeroplasics contemporary, Brussels), he uses e.g. hands in different functional positions. These hands describe a punch, a weapon’s discharge gesture or a blessing gesture. References to sexuality and religiosity are a fascinating manner in contrast to the classical Greek-style aesthetic. Robert Kunec sculptures are characterized by a strong expression and radicalism. Mastery is due to initial training at the Academy in Prague and his education as a restorer.

His works are in museums and influential private international collections (see CV).
Prof. Dr. Blume, former Director ‚Hamburger Bahnhof’, Berlin describes Kunec’ work as below:
„After 9/11, there was an almost inflationary attempt within the contemporary art world to evaluate the images of this singular event so aestheticized by the media.
Robert Kunec is a political artist who isn’t afraid to take on edgy societal subjects and he is a sculptor who finds three-dimensional images that direct our sensibilities towards the heart of these themes. [...]
Robert Kunec lives and works in Halle/ Saale, Germany 

MORE on ROBERT KUNEC   (CV & OTHER WORKS)  >>