Ever since his studies at the Kunstakademie in Hamburg, Christian Jankowski’s work has always been situated on a border open to exchanges between art and the media. The result is the creation of a setting where his characters participate in an exchange of roles, meanings and content, with the aim of asking questions about the role of art and its potential, and also about the positioning of the role of the artist in the same context.
Giving priority to irony while remaining critical, the video-graphic production of this artist signifies an acceptance that art be exposed to difficult circumstances in which we have a part, and where the same mechanisms from other creative media, such as cinema and music, function in a similar way. Pieces like My Life as a Dove (1996), Director Poodle (1998), and The Matriz Effect (2000) explain the transformations of the main actors in the art system —artist, curator and public— as they are exhibited to the audience. In Telemística (1999), The Holy Artwork (2001) and Talk Athens (2003), the artist’s attention is focused on themes related to art within the medium of television, where each one represents an interruption in the art of a different system of beliefs. The pieces Rosa (2001), What Remains (2004) and 16mm Mystery (2004) use the medium of cinema to reflect on the idea of teamwork as a produced and consumed product.
Agustín Pérez Rubio