Language and login selector start
Language and login selector end

Solo show: Christian Jankowski - Bravo Jankowski! (over)

17 September 2003 until 25 October 2003
  Christian Jankowski - Bravo Jankowski!
Christian Jankowski, Flock, 2000
  Lisson Gallery

Lisson Gallery
29 & 52-54 Bell Street
London NW1 5DA
United Kingdom (city map)

Send E-mail
tel +44-(0)207-7242739


"Christian Jankowski is an infiltrator: he imposes himself into various societal structures and systems (particularly media), making cunning artworks that, in turn infiltrate the artworld. A deceptive appropriator, Jankowski's art doesn't really look like art. Although he is aptly described as a conceptual artist, his reliance on culturally based subjects and motifs also link him with Pop Art and later Pop-inspired tendencies." Dean Sobel

Jankowski's work is a performance which engages often unsuspecting collaborators to innocently collude with him, making them 'co-authors' of the final result which is often a surprise, even to the artist himself. The collaborative nature of Jankowski's work is paramount, as each participant unwittingly contributes his or her own texture, culminating in a layered psychological journey that one suspects is as curious to the artist as to the viewer.

In Flock, 2002, a 12.5 minute DVD, he invites magician Paul Kiev, assistant to master magician David Copperfield, to turn 12 gallery visitors into sheep. In pairs, each volunteer is turned into a sheep as they enter the group exhibition Con Art, a show based around magic-related art, at Site Gallery in Sheffield. They view the artworks as sheep and are then transformed back into human form by the magician upon departure. How they might have experienced the exhibition as ovine visitors is a question which lingers as the credits roll. Comic incongruities and magical transformations are recursive motifs in Jankowski's art.

The Hunt, 1992, a performance video piece is one of the artists earliest works. For one week the artist visits supermarkets and rather than select his goods as customary, he' hunts down' his groceries, shooting each item with a children's bow and arrow, accompanied by a friend with a video camera. He then queues and pays for his 'skewered' goods in the orthodox manner, thereby subverting the earlier regression to the 'manly technique of 'natural' self-supply". This final gesture humorously suggests that 'natural ways' and capitalist circulation are not necessarily mutually exclusive. Jankowski's signature use of formats more commonly associated with mass media is evident in the low-tech 'teleshopping' appearance of The Hunt in that one could imagine the video being promoted on QVC as a bizarre new way to shop.

Usage of media formats is evident too in the 'culture documentary' style of one of his more collaborative works, Matrix Effect, 2000 whereby Jankowski pays homage to preceding fellow artists. Commissioned by Wadsworth Atheneum to make a new work, he found himself engaged by the history of the Wadsworth Atheneum itself and in particular, it's Matrix program and the 141 contributing artists who exhibited during the curatorial reign of Andrea Miller-Keller from 1975-1998. Artists included, among others: Sol LeWitt, (1975), John Baldessari (1977), Christo & Jean Claude (1978), and Janine Antoni. Jankowski contacted each artist with a list of questions pertaining specifically to their own Matrix exhibitions, to which they responded in writing or by phone. A script was devised based on these interviews and then filmed. Rather than casting the artists as themselves, Jankowski enlisted untrained children between the ages of seven and ten in the roles of the artists. Hence, The Matrix Effect ­ 'a supernatural transformation whereby commitment to new ideas stimulates a radical age reversal.' Comical, sometimes-ironic changes occur as the children speak the parts of the adult artists. As the children were not given the script or rehearsed beforehand, the dialogue becomes a form of 'Chinese Whispers'. While earnestly attempting to repeat complicated lines, the word "critics" becomes "critters" and "historical" morphs into "hysterical" in the mouths of the children.

Jankowski's work is at once sympathetic, ingenuous and human, yet subversive and sharply observed. Unafraid of exposing himself within the work he takes an acute, humorous and thoughtful look at the human condition.

While he has been widely exhibited in Germany and the US, this will be his first solo exhibition in the UK.

Christian Jankowski was born in 1968 in Göttingen Germany and lives and works in Berlin and New York. Selected one person exhibitions include: Maccarone Inc., New York, 2002; Swiss Institute, New York, 2001; ArtPace, San Antonio, Texas 2001; Wadsworth Atheneum, Hartford, Connecticut, 2000; Goethe Institut, Paris, 1999; and Klosterfelde, Berlin in 1996,1998 and again in 2002; MACRO, Rome, 2003. Group exhibitions include: Venice biennale 1999; Biennial Exhibition, The Whitney Museum of American Art, New York, 2002; Cine y casi cine, Reina Sofia, Madrid; Tele(vision)--Kunst sieht fern, Kusthalle Wien, Vienna, 2001. Upcoming exhibitions include Museum fuer Gegenwartskumnst Basel, CH, September 2003, and Art Sonje Center, Seoul, S. Korea, September 2003.

For further information contact Rory Logsdail on: 020 7535 0802 or 020 7724 2739. For press and media enquiries contact Lynne Gentle on: 020 7724 2739 Facsimile: 020 7724 7124 Email:

All contact details are contained on our ContactUs page

  • ArtFacts.Net - your experienced service provider

    Since its start in 2001, ArtFacts.Net™ developed a sophisticated artist database through its collaboration with international art fairs, galleries, museums and artists.