Agnes Janich

Press Clippings

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

 

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 professor, Warsaw, Poland

 

• Fearless.

Stefanny Jankenopon, curator, Amaterazu, Jakarta, Indonesia

 

  • With their pure, minimal form, Agnes Janich works rewrite the story of imagining the unimaginable. Experiencing the impossible to experience. (...) Janich brings back the dignity to these bodies - now people.

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

 

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

 

In its simplicity the installation goes under the skin.

Der Standard, Vienna, Austria

 

 

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

 

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

 

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

 

  • This labyrinth is an allusion to the ways in which animals were treated better than the victims of the Holocaust held in Auschwitz. Moreover, it evokes the extent to which an almost complete state control of media and culture stifles humanity's potential.

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

 

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

 

• 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's subtle and precious piece. (...) This unique project is not just an arts event.

Karolina Murzic, art critic, Lodz

 

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

 

• 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

 

• We walk away with ourselves forever changed. 

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

 

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

 

  • 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

 

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

 Agnieszka Gniotek, art critic, Format, Wroclaw, Poland

 

Janich is only 22 [now 33] 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

 

• 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

 

An avid analyst of human relations.

Malgorzata Sidor, curator, fabs, Warsaw, Poland

 

• She seems to see no barriers. Her works aren't easy, (...) yet we want to look and listen.

o.pl, culture portal, Poland

 

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

But we are, as viewers, given the chance to begin again in the language of the body.

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

 

 

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

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

 

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

Lyle Rexer, art critic, catalog essay, New York

 

© 2003 - 2019 Agnes Janich