Please click on the images to find out more about the different projects.
Lightyears away
TV screen with wooden frame , screening Video Clip with extract of Zizi Rincolisky's short film 'The Other woman", Zizi's dream.
In the film « the Other woman », which is based on one of Zizi’s dreams, her dark desire surfaces, becomes visible, is not veiled any more. In a dream, the logic of time and action as well as cultural censorship are abolished. The content of a dream can manifest in bizarre, senseless actions running parallel to 'normal' ones and no one in the dream is taking notice.
Art is an intoxication
2023
Brutally engraved on the ash wood trapeze, which is 1.62 m wide, 1 m high and weighs 29 kg, is a memory of Zizi Rincolisky's encounters with the late artist Martin Kippenberger. This phrase, which he confided to her during their joint rides through the pubs of Dublin and Sydney four years before his death, has remained unforgettable for her. This particular encounter represented strong emotions, the exhilaration of closeness and its impossibility, desire and its disenchantment. Martin Kippenberger did not want to give up on intoxication, even though he was aware that it was the thing that put him in the ground.
The Image of Me as Unity is a Fantasy
Beyond the Pleasure Principle
Self Portrait
2020
Printed Text and Acrylic Paint on Dibond Aluminium ( 1.20 x 2.40)
The printed text on the Dibond Aluminium panel represents the ongoing dialogue between the I and the Other, metaphor for Zizi Rincolisky and her psychoanalyst. The text ( also printed separately on A4 parchment papers) reveals something of what the philosopher and psychiatrist Jacques Lacan calls 'la langue' to the viewer/reader, an individual speech, that through the lack of punctuation appears like a manic discourse. The painted image is a collage consisting of a figure from the Book of Kells and the portrait of the artist as a child. The oversized distorted mouth in addition to the images of the Celtic fantasy figure are supposed to transmit something of the oral drive, the desire to limitless devour scenery, food, love, money...
Celtic paravent
2020
Printed text and acrylic paint on wooden panels (1.20 x 2.40)
A paravent is a folding screen which's function is to shield something intimate from the public gaze. Here the visual text represents the discourse with my psychoanalyst replacing the spoken one taking place during the sessions. While reading the text something of the my division glides through the metonymy of speech/ writing - in between the violent accusations or erotic fantasies, in the endless repetitions about suffering caused by the Other. The continuous flow of the discourse without punctuation refers to the literary style of 'stream of consciousness`, a technique applied in psychoanalysis.
Coronavirus - Confinement - Racism
2020
Installation: printed text and drawing on aluminum panel
The Irish Confession chair
Installation: Roof slates, tape recorder on pedestal
Interview of woman by Gerry Ryan / The Gerry Ryan Show, Ireland 1996
Exhibited in the Art Trail Group Exhibition Cork, Ireland 2000
and Galerie Brigitte Schenk - 2001 / Köln
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
What does Jacques Lacan mean by his famous sentence: 'There is not 'the' sexual rapport'? Men and women enjoy in different ways, not only on the level of sexuality, but also in terms of desire concerning the ever lost 'thing'. For the woman love is always somewhere else and for the man it is his desire for 'the' woman, who doesn't exist, the unattainable woman of his fantasy.
Only in the Other I can recognize myself
1997
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’
Le Semblable
1997
black and white photographs, 53 x 42 cm, prints
Apparently one, the subject's imaginary counterpart in the mirror differs from his own body, here I relate to Lacan's 'formation of the Ego' during the mirror stage. Representing this concept by the image of identical twins, who seem to be the same person (One) at first glance, but then successively revealing their difference
Teaspach 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.
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’.
Alienation
Sacred earth on wood with inscription, 2,44 x 1,22 m
Australia, Ayers Rock (Ularu) 1990
The title refers to the alienation of the subject by the signifier. Alienation is the speaking being's destiny that cannot be escaped; it relates to my own personal alienation while living and working in Australia as well as to the one that the Aborigines experienced as a nation. In order to shape the letters of the written text, the layers of ancient earth on the wood panel (landscape format) were been cut out and filled with sand.
Separation
Sacred earth on wood with inscription, 2,44 x 1,22 m
Australia, Ayers Rock (Ularu) 1990
The text on the second landscape installation represents my sense of fading under the overwhelming presence of this vast alien continent.
All hours
Brussels 2001
Aluminium Plate with inscription
Fluorescent light tube
Psychoanalytic couch
Convict
Painting and sofa
Measurements of the painting: 1,4 x 2 m
Oil on canvas
Year: 2016
Sofa: 1950
Velvet
The Ego and the Other
1996
The image of me as unity is a fantasy
Wood and mirror : 1 x 1 m
Wood and looking glass- two different materials that I sometimes combine to one work marking the split (la scise) between vision and gaze. We see our body in the mirror but his returning gaze is empty. The mirror is blind because it is filled with the absence of the subject.
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.
TRUMPF
2018 TOAF Bristol, UK
2018 Project Stace Franklin 92, Brussels, Belgium
Installation
Mediums : clay, plaster, acrylic
37 x 31 x 26 cm
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.
Into the Abyss
2013 - Brussels
Installation : 2 parallel mirrors : 2.44 m x 1.22m
Plaster fabric sound
Spatial installation in which the spectator looks through a peak hole seeing a dismembered body in its infinite repetition disheartening into the abyss. By the precise measurement of the size of the hole and a specific distance of the two parallel hanging mirrors, I wanted to create something of the real or invisible, the gaze into the abyss, which is normally hidden from the eyes of the seer.
When looking from the side, this effect is not achieved. In paranoia and schizophrenia the real returns in form of a disjointed body image, which is represented by the sound piece.
Das Ding (La Chose)
Brussels 2001
wood 1.5 x 0.5 m
Dibond - aluminium sheet 2,4 X 1,2 m
“Das Ding”, the signifier marks the body, names it, distorts it, splits it, twists it, makes it appear in the place where it is not, how it is not, lets it fall into a deep abyss.
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
Beyond the Pleasure Principle
The installation represents the overconsumption of goods, food… in the Western World.
Sculptures and film
Its title ‘Beyond the Pleasure Principle’ relates to Sigmund Freud’s concept of the drives that he reformulated after World War I. In this essay Freud distinguishes between the Eros (the drive to invest libido into objects and narcissism) and the Thanatos (the drive to return to an inorganic state or Nirvana). Eros aims at the creation of greater entities, Thanatos at destruction and death. Clinical evidence for the latter is found in melancholia and obsessional neurosis.
The subject or speaking being is divided between these two drives. My work supposes to represent this division manifesting in the contemporary overproduction and overconsumption of technology, food, art… Driven by his narcissistic libido, the subject tries more and more to create new products, which leads to an overproduction of waste and thus a destruction of the environment and finally himself, as no human life is possible without the planet.
The overproduction of waste shows its effects in the contamination of the seas, which causes a high mortality rate and the contamination of fish and seabirds.
The sculpture is divided in two parts, the figure on the right which is transparent represents the repetition-compulsion of the death drive, whereas the coloured plastic one symbolizes narcissism and the drive to go forward, to create higher entities.
The animated film, which is part of the installation, shows the evolution of the 2.50 meter high sculpture, its trash was taken from the blue bags being collected once weekly in the city of Brussels by the artist.