Barbed Wire of Christ: Difference between revisions
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#REDIRECT [[Lubo Kristek]] |
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{{Infobox artwork |
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| title = Barbed Wire of Christ |
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{{R to related topic}} |
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| painting_alignment = right |
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| other_language_1 = [[German language|German]] |
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| other_title_1 = {{Lang|de|Stacheldraht-Christi}} |
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| image = Stacheldraht-Christi_by_Lubo_Kristek.jpg |
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| caption = |
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| artist = [[Lubo Kristek]] |
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| year = 1983 |
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| medium = [[Sculpture|Sculpture]] |
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| height_metric = 250 |
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| width_metric = 115 |
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'''''Barbed Wire of Christ ''''' is an outdoor [[sculpture]], created by [[Lubo Kristek]] in 1983 on the coast of [[Cantabria]].<ref name="putova">Půtová 2013, p. 13.</ref> Kristek made it of junk he had found around the place.<ref name="fischer-63" /> The artist comments on the state of society through de-aesthetization of cultural paradigm.<ref name="putova" /> Barbed wire permeates Christ’s body as veins. |
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==Background== |
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In the 1970s and 1980s, Kristek travelled intensely throughout Europa and America<ref name="sun">Půtová 2018, [http://glyptotheque.com Chapter: Lubo Kristek: The Sun King in the Theatre of His Own World]</ref><ref>Fischer 2019, pp. 56–57.</ref>, mostly to coastal countries<ref name="fischer-63">Fischer 2019, p. 63.</ref>. It enabled him to apply transcultural experience in his artworks.<ref>{{cite web|first=Barbora|last=Putova|url=https://www.ff.cuni.cz/2014/03/jedenacte-zastaveni-si-musi-kazdy-najit-sam/|title=Trinacte zastaveni si kazdy musi najit sam |website=Filozoficka fakulta Univerzita Karlova|publisher=|date=10 March 2014|access-date=19 May 2020|language=cs}}</ref> During his wanderings, Kristek used to create artworks using materials he had found on-site.<ref name="fischer-65">Fischer 2019, p. 65.</ref> Nature was his exhibition space, his works were not for sale and were meant for everybody.<ref name="fischer-63" /> Kristek wanted to stay away from the consume and commercialization similarly to the [[land art|land artists]] of that time. He protested against perception of artwork as a mere commodity.<ref>{{cite magazine |first=Sven|last=Mueller|year=1976|issue=3|title=Das kunstvolle Leben des Bildhauers: Lubo Kristek |magazine=Collage: Zeitschrift für Literatur und Grafik|page=50| language=de }}</ref> |
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==Description== |
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In 1983, Kristek found [[scrap iron]] and pieces of wood on the coast of Cantabria,<ref name="sun" /> near [[San Vicente de la Barquera]].<ref>{{cite web|url=https://artsandculture.google.com/asset/barbed-wire-of-christ/3wHBL-o35DD6Pg|title=Barbed Wire of Christ|website=Google Arts & Culture|publisher=|access-date=19 May 2020}}</ref> and created the ''Barbed Wire of Christ''. The crucified Christ is made of trash. Pieces of [[barbed wire]] come through his body and form his arms and legs. |
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==Symbolism== |
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Kristek often uses [[found objects]] in his artworks.<ref>Fischer 2019, pp. 59–71.</ref> He gives them a new context and a new identity.<ref name="fischer-63" /> Kristek found waste more often during his wanderings and created artworks of them to give a statement and raise awareness of trash.<ref name="fischer-65" /> Another example of use of [[trash art|trash]] in Kristek’s art is his [[assemblage]] ''On the Landfill of Ages'' (1994). |
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Barbed wire is connected with Kristek’s personal journey. Before 1968, he lived in [[Czechoslovakia]]. Barbed wire fences were on the borders as part of the [[Iron Curtain]] dividing Europe into “the west” and “the east”. “The west” was forbidden. To cross the borders without permission was considered a criminal offence at that time.<ref name="fischer-26">Fischer 2019, p. 26.</ref> In 1968, after the [[Warsaw Pact invasion of Czechoslovakia|invasion of Czechoslovakia]], Kristek painted protest posters and emigrated to [[West Germany]]. <ref>Půtová 2018, [http://glyptotheque.com/index.php/history-and-happenings/introduction Chapter: History and Happenings – Introduction]</ref><ref>Fischer 2019, p. 22.</ref> For his staying abroad, he was sentenced, in absentia, by the Czechoslovak regime.<ref name="fischer-26" /> Kristek used barbed wire in more of his artworks, for example in the ''Automatic Trains of Thought – Desk'' (1975).<ref>Fischer 2019, p. 66.</ref> |
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==Notes== |
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{{Reflist}} |
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==Bibliography== |
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* {{cite book|last=Půtová|first=Barbora|authorlink=|title=Kristek's Glyptothek im Thayatal|language = de|year=2013|location=Brno|publisher=VÚKU|isbn=9788090554818|oclc=892780553}} |
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* {{cite book |last=Půtová |first=Barbora|year=2018 |title=Kristek Thaya Glyptotheque|url=http://glyptotheque.com |edition=1st Digital|publisher=Research Institute of Communication in Art|access-date=19 May 2020|isbn=9788090554832}} |
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* {{cite book |last1=Fischer|first1=Sonia|last2=Neunzert|first2=Hartfrid|last3=Putova|first3=Barbora|year=2019 |title=Lubo Kristek - Genius Loci Cobwebbed|location=Brno|publisher=RICA|isbn=9788090554863}} |
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[[Category:1983 sculptures]] |
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[[Category:Found object]] |
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Latest revision as of 07:28, 8 July 2020
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