work in progress of the website from the artist Christiane Tureczek

Here some impressions
of Christiane Tureczeks current exhibitions.


christiane tureczek

Venice 2017
PERSONAL STRUCTURES

Open Borders

In the context of the 57th 

Biennale di Venezia 2017

Palazzo Bembo - Rialto 

May 13 - November 26, 2017

Open daily from 10:00 to 18:00

except Tuesdays

European Cultural Center

exhibition presentation - august 26

While discussing different forms of Christiane Tureczek’s exhibition participation in “Personal structures - open Borders” with René Rietmeyer and his team,
the whole installation appeared in one of Christianes dreams – and so it had to be exactly the small room in Palazzo Bembo, in the third floor, on the backside
of the palace.

Her installation speaks about human life conditions in our modern world. It is about our relationship to ourselves, to «nature», to «God»…

In the center of a cube you see this small “Human”, in red colour, that rises up his/her hands, freezed in an eternal yell - is he/she blaming “God”? ... complaining his/her destiny? … is she/he full of life and joy? ...

In Christiane Tureczek’s art you will often find sculptures made out of trees or parts of trees. They are not carved, not sculptured, not polished or treated in any way - She just installed them in a bigger context, she tried to give them back their personality, their dignity and their meaning as our peaceful, strong and mindful friends with their own characters, languages and souls … (Hexenmal)

This Human is installed in the center of a cube made of Plexiglas – cubes were used through thousands of years already B.C. for religious ceremonies, for
“fortune-telling” and for “games of luck” – also for division of inheritance, especially in the context of temples. For the Human Race it was obvious, that nothing
is just “hazard”, but through the cubes God (or Goddesses) were telling their Will to the Humans – they were even playing with the Human Destiny.
The Cube as a regular form based on the Quadrat represents entireness and is a symbol of eternity. Under the Five Platon Bodies it is dedicated to the EARTH.

Our Human in his transparent cube is upright and safe, but also exposed and imprisoned. He is bound to it’s worldly, daily existence – lonely, abandoned but still searching for deeper understanding.
The hanging, circulating cube paints through the light installation flowing shades on the floor – alternating, ephemeral…

… representing changing conditions throughout our being …

In the background the white colored painting «SUDARIO» - made of organic material -, referred to the biggest act of love ever transmitted in the history of occidental culture.
Recent visitors interpreted the installation as:
I hope that we can hope” – “and everything was illuminated with love”.


The works of the installation artist Christiane Tureczek, who was born in Austria and lives in Switzerland, are reductive investigations inspired by the formal style of Brâncuși, the choice of materials of Arte Povera and the landscape and transience dialogue as pursued by land art. Tureczek’s works address existential issues relating to the co-existence of human beings, animals and the natural environment, inviting us to explore different cultural and historical pasts so as to gain insights in support of a shared present and future that is defined by mutual respect.

White is the dominant colour in the works of Christiane Tureczek. As the sum total of all of the colours of light, it embodies perfection. It is also seen as the colour of royalty and is used in liturgies as a symbol of holiness. In numerous cultures, white symbolises joy, purity and immortality, but it is often seen as standing for grief, old age, death and a link with the underworld and the afterlife, too. 

These are the existential questions that occupy Christiane Tureczek on her walks and discovery trips. She collects organic elements and artefacts of our civilisation that have changed under the impact of weather and time and moved on from their original function to take on a new existence. She picks up sagas and stories, historical contexts and personal memories from the people she encounters and she interweaves these in her collages, reliefs and installations to create new associative images and contexts.

Christiane Tureczek develops her installations for specially chosen sites and limited periods of time. Her main tool is fire: its nourishing yet consuming power makes it highly symbolic, adding to Christiane Tureczek’s conceptual works the element of “controlled randomness”.