Agnes Janich

Press Clippings

Her body becomes an absolute, a sacrifice, an offering. An all-encompassing declaration of:

I will do everything, give everything, just to get closeness in return.

Zuzanna Sokolowska, art critic, O.pl, Warsaw

 

In its simplicity the installation goes under the skin.

Der Standard Editor, Der Standard, Vienna, Austria

 

• She seems to see no barriers. Yer her works aren't easy. (...) Yet we want to look and listen.

o.pl, culture portal, Poland

 

Fearless.

Stefanny Jankenopon, curator, Amaterazu, Jakarta, Indonesia

 

• We walk away with ourselves forever changed. We are possessed.

Thyrza Nichols Goodeve, Art Critic, essay from Body Memory, New York

 

  • There is no doubt that the strategy of seduction implemented by Janich,educated in New York and operating internationally, is as cold-blooded as it is clever.

Daniele Muscionico, Art Critic, Neue Zuercher Zeitung, Zurich

 

  • She is naked in all of them. Literally and metaphorically. She speaks about profound things - the pain of existence and an overwhelming mix of feelings difficult even to grasp. Most of us can identify. Many of us want to see her naked. What does it mean?

Karolina Sierka, art critic, Radom, Poland

 

with a child-like faith in her ideals, she lets reality touch her to the bone. She reacts in images that scream with meaning.

Tomek Sikora, photographer and art educator, Warsaw, Poland

 

My body, my love, my desire are what allow me to believe the illusion of normalcy.

Marta Raczek-Karcz, PhD, art critic, obieg.pl/artmix, Warsaw

 

a remarkably original take on femininity and a talent in making it speak through photography.

   The meaning of the images is striking.

Julian Haponiuk, photo critic, Photocourrier, Warsaw, Poland

 

What a gentle embrace of absence and potential (...)

   This is not sentiment but a memorial to the notion of loss and the possibility of what could have been.

Thyrza Nichols Goodeve, art critic, catalog essay, New York

 

• a remarkably intense body of work with an exceptional aura. Seemingly surreal, yet about reality.

Monika Malkowska, art critic, Rzeczpospolita, Warsaw, Poland

 

this unique project is not just an arts event

Karolina Murzic, art critic, Lodz, Poland

 

• The piece enriches spiritually, giving us a sense of a deep social bond and a gratitude for participation.

Monika Bernacka, culture critic, OS, Auschwitz, Poland

 

Janich is only 22 [now 27] years old and a citizen of the world.

She was able to create an incomparable moment and a space for true human contact.

Melanie Kolbrunner, art critic, Landbote, Zurich, Switzerland

 

This exhibit challenges people to open their eyes to everything around them.

Silas Marti, art critic, La Fuelha de Sao Paulo, Sao Paulo, Brasil

 

The Divine? project is composed of eleven prints. Eleven exclamation marks made of toys.

Jena Oppldusova, art critic, Pravda, Bratislava, Slovakia

 

Fear turning into empathy and dismay - these are the feelings which Agnes Janich provokes without moralizing about looking and overcoming the past.

Falter Editor, Falter, Vienna

 

• From a feeling of guilt to the state of - harmony?

  • From the feeling of guilt to the state of - harmony?

Daniele Muscionico, Art Critic, Neue Zuercher Zeitung, Zurich

 

• Agnes Janich’s (...) does not redeem or moralize The Holocaust but sets out to produce the very affect that such experience of atrocity produces, and in doing this her art does not sooth, but bites.

Thyrza Nichols Goodeve, art critic, catalog essay, New York

 

One of the sprawling exhibition’s most ambitious works is Man to Man by the Polish artist Agnes Janich.

Oliver Good, art critic, The National, Dubai, UAE

 

  • Janich successfully brings up an otherwise silenced topic. She also brings back the dignity to these bodies - now people.

Marta Raczek-Karcz, PhD, art critic, obieg.pl/artmix, Warsaw

 

the work (...) draws attention to individual pain

Dorota Lagodzka, art critic, Obieg, Warsaw, Poland

 

An avid analyst of human relations.

Malgorzata Sidor, curator, fabs, Warsaw, Poland

 

The corridor walls get closer and closer as if trying to smother you, while, in year head, you hear your own heavy breathing.

LeMonde.Fr

 

Thinking of Boltanski again, she mobilizes a wider set of associations.

Lyle Rexer, art critic, catalog essay, New York

 

The video reminds us that what appears to be the same behavior isn't necessarily the same.

Sigrun Asebo, PhD, art critic, catalog essay, Bergen, Norway

 

This is the most horrifying - and the most beautiful - love letter.

 Agnieszka Gniotek, art critic, Format, Wroclaw, Poland

 

•The work effectively comments on how one can perceive the sexuality of men and women in diametrically opposed ways.

Eli Okkenhaug, curator, catalog essay, Bergen, Norway

 

A taboo-breaking exhibition.

JW, art critic, The Informationist, Radom

 

• The effect is mind-boggling. Passers-by stop and exchange remarks on the piece. Memory is coming back.

Marta Pietrasik, art critic, Gazeta Wyborcza, Lodz, Poland

 

•Both war and love explode the boundaries of the self, as Agnes Janich shows.

But we are given the chance as viewer’s to begin again in the language of the body.

Thyrza Nichols Goodeve, PhD, art critic, catalog essay, New York

 

• Janich's subtle and precious piece.

Karolina Murzic, art critic, My City, Lodz

 

An important if at times shocking show of Agnes Janich (...) Brave, erotic imagery at times bordering on kitsch.

Paulina Nodzynska, art critic, Gazeta Wyborcza, Zielona Gora

 

• There are no abstractions in her work; everything has to be lived before it can be known and remembered.

Lyle Rexer, art critic, catalog essay, New York

© 2003 - 2018 Agnes Janich