jesus
 

Zizi’s home (castle caravan)

Photograph : 1 x 1 m

 

 

 


 

 

Am I man or am I woman ?

Installation on Plexi Glas with inscription, 50 x 50 cm
Group exhibition, West Cork Art Center, Ireland 2009


The transparency of the material is metaphor for the transparency of the signifier ‘woman’.

 

 

 

 

 


 

 

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Alienation

Sacred earth on wood with inscription, 2,44 x 1,22 m
Australia, Ayers Rock (Ularu) 1990


Stranger in my family
Stranger in my homeland
Stranger in myself
Love is always somewhere else

 

 


 

 

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Separation

Sacred earth on wood with inscription, 2,44 x 1,22 m
Australia, Ayers Rock (Ularu) 1990


What is it I fear about separation?
Is it death I fear?

 

 




 

 

listen to the interview

The Irish Confession chair

Installation: Roof slates, tape recorder on pedestal
Exhibited in the Art Trail Group Exhibition Cork, Ireland 2000
Interview of woman by Gerry Ryan / The Gerry Ryan Show, Ireland 1996


 

 

 

 

 

 

 


 

 

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There is not the sexual rapport (Il n’y a pas de rapport sexuel)

invitation cards for Zizi Rincolisky’s exhibition at Gallery Brigitte Schenk, 2,43 x 1,20 m
Cologne, Germany, 07 - 19.04. 2003


 

 

 


 

 

jesus

All hours

Aluminium Plate with inscription
Fluorescent light tube
Psychoanalytic couch
Brussels 2001

 

 

 

 

 

 


 


 

 

jesus

The Ego and the Other

The image of me as unity is a fantasy

Wood and mirror : 1 x 1 m

 

 

 


 

 

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Only in the Other I can recognise myself

600 A4 text pages on parchment paper distributed on 3 walls, 4 x 2,42 m width contain a dialogue between Zizi Rincolisky and her psychoanalyst. The drawings are copied from the ‘Book of Kells’,

Two black and white photographs (53 x 42cm) of identical twins suspended on two opposite walls

Two speakers on metal threads hanging from the ceiling emitting the sound ‘mmm’

 

 

 

 

 


 

 

 

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Uterus
Gebär-Mutter

2012 - Brussels

Height: 94 cm, width: 69cm, depth: 79cm

Acrylic glass container on steel structure
In space is the acrylic glass container. A video projection lets an image of a child appear in water, the latter is metaphor for the fetus in the amniotic fluid. A second video projection scrolls a poem on the wall behind the acrylic glass container. The spectator has the choice to pick up a headphone where he can hear the artists voice reciting this poem in 3 languages. The latter tells a story of a child who had developed a tumor around his ovaries while being a fetus in the amniotic fluid. The poem recounts the effects of the mother's emotional language on the unborn. The movements of the child in the container express the unique body language of each individual, how it shows already in the uterus and how the body is affected by the speech of the other.
The umbilical cord is represented by a plastic tube.


 

 

 

jesus
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Into the abyss

Psychoanalytic couch between two mirrors, 2,44 x 1,22 m

 

 

 

 


 

 

 

Body in pieces

2013 - Brussels

Installation : 2 parallel mirrors : 2.44 m x 1.22m
Body parts of a plaster figure

2 identical mirrors (2.44 m x 1.22 m) are hanging parallel in space on a 4 metal strings. In between the two mirrors are parts of a body sculpture in plaster, also hanging, but on transparent strings from the wall.
There is a hole with a diameter of 25.80 mm scratched into the back surface of the mirror for the spectator to look through. The visual effect is the view into infinity. A sound piece by the artist citing fragmented phrases containing neologisms accompanies the viewer's gaze into infinity. Both works, visual and auditory are one. If the imaginary construction of the subject's body in the mirror is fragmented, so is his speech. This fragmented, paranoid phase is the one before the accumulation of syntax and structure in early childhood indicating the specular body as 'orthopedic'. In cases of paranoia and schizophrenia the structure of the one (unity) in image and speech is also abolished. 'Infinity' is a metaphor for the multitude of imaginary projections onto the two-dimensional surface of the mirror revealing the subject's structure if these projections are articulated by his speech.


 

 

 

The contemporary-eternal family

3 Plaster figures, Man and woman: 1.70m, Child: 0,5 m

 

 

 

 

 


 

The Thing

 

 

 

 

 


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The place of dreaming

 

 

 

 

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Arc de Cercle

 

 

 

 

 

 

 

 


 

 

Die Kollektion der Ausserirdischen im Wohnzimmer der Mutter der Küenstlerin

2015

Bilder, Fayencen, Sofa

 

 

 

 


 

 

Reflecting at the edge of the sea

Painting and sofa

Measurements of the painting: 1,4 x 2 m
Oil on canvas

Year: 2016
Sofa: 1950
Velvet

 

 

 

 

 

 


 

 

 

The Cage

video, screen on wood: 120 x 70 x 50 cm

 

 

 

 

 

 

 

 



Mass manipulation

2018

10 painted plaster heads of 'Jabba the Hut'

dimensions: 33 cm width, 24 cm height, 26 cm diameter

 

 

 

 

 

 

 

 

 

 

 

painted plaster heads of Trump

 

 

 

 

 

 

 

 

 

The Snake

painted plaster head, Jabba The Hut

dimensions: 33 cm width, 24 cm height, 26 cm diameter

video containing scrolling text of Trump's quote of Al Wilson's poem 'the snake'

 

 

 

 

 

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view project :
THE FATHER OF THE NATION

 


TRUMPF

Installation
Mediums : clay, plaster, acrylic
37 x 31 x 26 cm

2018 TOAF Bristol, UK
2018 Project Stace Franklin 92, Brussels, Belgium

 

 

20 uniquely painted round plaster heads, all equal in size and shape are sitting on the floor in the gallery or exhibition space. The original was modelled in clay by the artist according to the image of the Star Wars figure Jabba-the-Hutt, the slug like monster-alien. Trumpf’s head is sitting on a white round pedestal, above the heads, which represent the ‘folks’. Behind his head is a sculpture, showing his ‘other face’, his alter ego.

The painted images on each head represent the visual transmission of a particular story, the projected scrolling text above the heads tells the complete one, word-by-word quoted from publicly held speeches or Twitter posts.

Particular signifiers loaded with meaning have been selected from these speeches in order to be transmitted into images, e.g. snake, wall, global warming, Pershing and pigs blood, father Fred and Ku Klux Klan, black and white, wealthy and poor, Rocket Man, sexual harassment, school shootings and God... - all chosen in order to enlighten the effects they have on the collective unconscious or in other words, how they amplify the mass-hysteria affect.

In the film Zizi Rincolisky transmits Trump’s original words in projected, scrolling text. The viewer can find the particular head in the exhibition space, whose painted image corresponds to the text on the wall.

 

 

 

 

 

 

 

 


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Only in the Other  I can recognise myself 2018

Installation

2018 TOAF Brooklyn, New York, USA
2018 Space Project, Franklyn 92, Brussels, Belgium

600 A4 text pages on parchment paper distributed on 3 walls, 4 x 2,42 m width contain a dialogue between Zizi Rincolisky and her psychoanalyst. The drawings are copied from the ‘Book of Kells’.

Two black and white photographs (53 x 42cm) of identical twins suspended on two opposite walls

Two speakers on metal threads hanging from the ceiling emitting the sound ‘mmm’

 

The stone reminds the viewer to a tombstone, evoking the association with Freud’s definition of the death drive after the second world war; Freud related it to the drive for repetition. ‘Teaspach’ our ‘jouissance’ contains repetition, in the metonymy of the spoken words which is hanging in form of written text on the wall, the reader/ viewer can identify something that repeats itself and that contains destructive drive energy.

 

 

 

 

 

 

 


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Encounter with the Ephemeral

Installation

Final work of residents at RARO, BUENOS AIRES 2019

Ceramic sculptures and film

 

World wars have ceased to exist
Now man’s enemy is the environment
which he destroys in his naivety
since the ravage is not invested with fear of death
the decay progresses steadily
grows like a malignant tumor
in the body of the planet
irreversible

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

© 2019 Zizi Rincolisky