Jan Kislo

Jan Kislo

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Mentioned

Listen the river series [Serie Oír el Río.] (2006)

Materials: Paper, Cardboard, Graphite, Ink, Diesel, Brea, Polyethylene, Cloth Tape, Sewing. Drawing is the most important action and an axial modular of organic shapes that remember vegetable formations circulating in the water movements.

Little wood series [Serie Maderita] (2004)

Materials: Wood, tacks, paint, thread, ink, graphite.
Retells situations of extreme vulnerability. Action lines based in the recycling concept and then a new material configuration from previous situations such as poor houses and neighborhoods with construction as support. This series develops from the recycling of fruit and vegetable boxes. It keeps relation with the image confrontation minimalist procedure. It shows reference points of my creating process. The series continue in me, in an undoable way, of impossible continuity on a material context.

Claudia del Río guided me in a indispensable way during the workshops in Resistenncia, Chaco, Argentina. Mariella Palmieri and Walter Tura’s collaborations were just as important.

Urban Series [Serie Urban] (2003, 2004, 2006)

Materials: Modules, wood, PET plastic, tacks.
The series is given by the interaction between the work and the urban context. Modules are transportable and adaptable to certain circuits. Wood parts belong to the recycle of fruit and vegetable boxes. Plastic comes from the recycling of soda containers.

Defense Structures [Estructuras de defense] (2003)

Materials: wire, woven metal, wood, plastic, thread.
The Defense Structures series was awork developed from recycled fruit and vegetable boxes and their manipulation to think about Structures based in a Daniel García’s plastic invitation . The show took place at the Misiones University Museum of Contemporary Art (Posadas, Misiones, Argentina).
Defense Structure 01 - year 2003 – Hanging structure. Wood, thread, holes.
Defense Structure 03 - Year 2003 - 1.20 mts. x 1.20 mts. Knit structure.

Suzuki Rey’s input was important (Museum’s director) during the assembly of the works. I also thank Francisco Alí-Brouchoud’s action who was the curator who invited other artists to dialogue with Daniel García. Héctor Borges (Leandro N. Alem, Misiones) and Violeta Bondarenco

The ball owner [El dueño de la pelota] (1998)

The ball owner was very important point in my development. It was de beginning of the use of support as a part of the statement through certain transparencies that, in a primary stage bordered me pretty much and I accepted it step by step. When I could see that I had achieved what I’ve been looking for, immediately I couldn’t go back to work in that format. It was the desire to get to a certain point and not going back there ever again.