Julie Kratzmeier (Dachau, Germany) makes conceptual artworks, photos, sculptures and performances. By manipulating the viewer to create confusion, Kratzmeier tries to develop forms that do not follow logical criteria, but are based only on subjective associations and formal parallels, which incite the viewer to make new personal associations.
His conceptual artworks are based on formal associations which open a unique poetic vein. Multilayered images arise in which the fragility and instability of our seemingly certain reality is questioned. By applying abstraction, he often creates several practically identical works, upon which thoughts that have apparently just been developed are manifested: notes are made and then crossed out again, ‘mistakes’ are repeated.
His works are an investigation of concepts such as authenticity and objectivity by using an encyclopaedic approach and quasi-scientific precision and by referencing documentaries, ‘fact-fiction’ and popular scientific equivalents. By using an ever-growing archive of found documents to create autonomous artworks, he tries to increase the dynamic between audience and author by objectifying emotions and investigating the duality that develops through different interpretations.
His works never shows the complete structure. This results in the fact that the artist can easily imagine an own interpretation without being hindered by the historical reality. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, he seduces the viewer into a world of ongoing equilibrium and the interval that articulates the stream of daily events. Moments are depicted that only exist to punctuate the human drama in order to clarify our existence and to find poetic meaning in everyday life.
His works are presented with the aim not to provide an idealistic view but to identify where light and the environment are important. The energy of a place and its emotional and spiritual vibrations are always important. By replaying the work for each exhibition and pushing the evocative power of the work a little further, he creates intense personal moments masterfully created by means of rules and omissions, acceptance and refusal, luring the viewer round and round in circles.
His works doesn’t reference recognisable form. The results are deconstructed to the extent that meaning is shifted and possible interpretation becomes multifaceted. By emphasising aesthetics, he tries to focus on the activity of presenting. The character, shape or content of the presented artwork is secondary. The essential things are the momentary and the intention of presenting.
His works sometimes radiate a cold and latent violence. At times, disconcerting beauty emerges. The inherent visual seductiveness, along with the conciseness of the exhibitions, further complicates the reception of their manifold layers of meaning. By choosing mainly formal solutions, he often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation.
His collected, altered and own works are being confronted as aesthetically resilient, thematically interrelated material for memory and projection. The possible seems true and the truth exists, but it has many faces, as Hanna Arendt cites from Franz Kafka. By examining the ambiguity and origination via retakes and variations, he absorbs the tradition of remembrance art into daily practice. This personal follow-up and revival of a past tradition is important as an act of meditation.
His works are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. By contesting the division between the realm of memory and the realm of experience, he reflects on the closely related subjects of archive and memory. This often results in an examination of both the human need for ‘conclusive’ stories and the question whether anecdotes ‘fictionalise’ history.
His works are on the one hand touchingly beautiful, on the other hand painfully attractive. Again and again, the artist leaves us orphaned with a mix of conflicting feelings and thoughts. Julie Kratzmeier currently lives and works in Li.
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