Kinga Dunikowski (1974) is one of the most interesting newcomers of the artscene.
Her works move between reality and fiction. Situations built with ready elements borrowed from reality
and with strategies known from advertising and film gain suggestiveness thanks to the artistic illusion.
The public thus becoming often part of the installation.
Kinga Dunikowski studied art history, philosophy and English and American Literature
at the Friedrich-Wilhelms-University in Bonn (1994–95) and Fine Arts at the Kunstakademie
Münster (1995–2001) in class of Reiner Ruthenbeck and Katharina Fritsch.
Her work covers installation, video, photography, painting and sculpture and has been shown
in many solo- and group exhibitions.
At the brot.undspiele gallery she presents her installation „Knocking on Heaven‘s Door” as well as some photographic works from 2004. In „Knocking on Heaven‘s Door” Kinga Dunikowski materializes the place of Final Truth as purgatory and Heaven‘s Gate, who‘s space-dominating, stilistic aesthetics opens up perspectives as well as ironic positions.
„She establishes a cool designer-bureau for James Bond – and plays a role herself in that game. Therefore she invents that conspirative organization „ORAKEL” who’s president is an unpredictible women „named Kinga D.” and who „calls her achinations art” – the artist at the point of intersection of fiction and reality, where she creates a nearly inextricable knot.
If you want to, you can also accept the narrative, ironic consequence of this scenaries as a whole. Than also the isenchantment contributes – on another level – to the enchantment. The revelation does not destroy, but it breaks. The disillusion does not denounce, but it rounds off.
Kinga Dunikowski wants people to „feel comfortable in the world I have created, to get captivated by it”. She stands beside her works, but – like a child of Baudrillards epoch of simulation – without standing beyond the world out of which they origin. What is decisive is the condition of lightness: that the view goes up to the open.
A touch of poetry that flows through James Bond, dreams of music-hits and artificial paradises in the way that it gives them and takes away their illusion at the same time.
May this be the smiling answer of a young generation to Adorno’s grim verdict about the industry of culture?”
In: Kinga Dunikowski – All the critics will love you in New York | Wewerka Pavillon | Münster 2001 | Manfred Schneckenburger
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