C-Print on Barytpaper
105 x 80 cm
Edition 6/10, II
Heavy Weight History (Little Insurgent)
Black and White photograph on baryt paper
55.12 x 73.54 inches;
140 x 186.8 cm
Edition of 5, 2
Throughout his career, Christian Jankowski (b. 1968, Göttingen, Germany) has developed a conceptual art practice that ranges from mass-media to fine arts production. This has lead Jankowski to collaborate with several media outlets, such as Columbia Tristar in Germany (Rosa, 2001), Taijin Media in South Korea (The Day We Met, 2003) and Televisa in Mexico (Crying for the March of Humanity, 2011). The resulting artworks synthesize performative elements into videos, sculptures, photographs and site-specific installations that challenge old parameters and suggest new ways of image production through questioning the images which circulate in mass-media and reflecting upon the current role of art in society.
His videos, films, and installations have been exhibited nationally and internationally in places such as HAL, Berlin, DE (2016); the K21, Stiftung Kunstsammlung, Düsseldorf, DE (2015); The Progetti per l’arte, Florence, IT (2015), The Proyectos Monclova, Mexico City, MX (2014); The Pavilion Downtown Dubai, UAE (2013); Sala de Arte Publico Siqueiros, Mexico City, MX (2012); MACRO, Rome, IT (2012); Nassauischer Kunstverein Wiesbaden, DE (2009); Kunstmuseum Stuttgart, DE (2008); Miami Art Museum, Miami, FL (2007); and MIT List Visual Art Center, Cambridge, MA (2005).
He has participated in numerous Biennials, including the 48th Venice Biennial in 1999, the Whitney Biennial at the Whitney Museum of American Art, New York in 2002 and the Taipei and Sydney Biennials in 2010. In addition, Jankowski curated Manifesta 11, Zurich, CH (2016).
Christian Jankowski is a recipient of the Heitland Foundation Award (2013) and the Finkenwerder Art Prize (2015).
Christian Jankowski: Floating World, Kyoto City University of Arts Art Gallery, 2018
Christian Jankowski: Heavy-weight History, The Center for Contemporary Art, Tel Aviv, 2014
2017, Petzel Gallery, 2018