ROBERT KUNEC II Collateral Damage
Show running in two cities: Cologne & Brussels (guest@Washington186 I aeroplastics contemporary)
Cologne: from 27.04. 2017 through June 03 I Brussels: June 04
Head Woman, cement, wood, metal, 70 x 40 x 40 cm, unique, 2017 |
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 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). |
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