Homo Quadrupeds Friends

Homo Quadrupeds Friends, 2018

166 x 308 cm

Photograph

In photographs from the series Homo Quadrupeds (2018) naked men are led on a leash by burqa-clad women who tame their instincts. This is a reference to the legend of unicorn, in which only a virgin could tame the wild animal. While the women meet during the walk, the dogs sniff each other and seek to dominate. It is no longer only a matter of freeing women from male domination, as in the performance Aus der Mappe der Hündigkeit (From the Portfolio of Doggishness, 1968) by VALIE EXPORT and Peter Weibel, in which Weibel obediently waddled at the artist’s side. Kozyra expands the feminist approach with a political aspect: the dogs in her work, played by Arabs and Americans, are aggressive and ready to jump down each other’s throats any minute. Kozyra might therefore have more in common with Oleg Kulik, who attacks the establishment in his performances as a dog (literally!), but also dreams of a non-anthropocentric, ecological society and fights for democracy.

Homo Quadrupeds Black

Homo Quadrupeds Black, 2018

160 x 217 cm

Photograph

In photographs from the series Homo Quadrupeds (2018) naked men are led on a leash by burqa-clad women who tame their instincts. This is a reference to the legend of unicorn, in which only a virgin could tame the wild animal. While the women meet during the walk, the dogs sniff each other and seek to dominate. It is no longer only a matter of freeing women from male domination, as in the performance Aus der Mappe der Hündigkeit (From the Portfolio of Doggishness, 1968) by VALIE EXPORT and Peter Weibel, in which Weibel obediently waddled at the artist’s side. Kozyra expands the feminist approach with a political aspect: the dogs in her work, played by Arabs and Americans, are aggressive and ready to jump down each other’s throats any minute. Kozyra might therefore have more in common with Oleg Kulik, who attacks the establishment in his performances as a dog (literally!), but also dreams of a non-anthropocentric, ecological society and fights for democracy.

Homo Quadrupeds Blue

Homo Quadrupeds Blue, 2018

164 x 217 cm

Photograph

In photographs from the series Homo Quadrupeds (2018) naked men are led on a leash by burqa-clad women who tame their instincts. This is a reference to the legend of unicorn, in which only a virgin could tame the wild animal. While the women meet during the walk, the dogs sniff each other and seek to dominate. It is no longer only a matter of freeing women from male domination, as in the performance Aus der Mappe der Hündigkeit (From the Portfolio of Doggishness, 1968) by VALIE EXPORT and Peter Weibel, in which Weibel obediently waddled at the artist’s side. Kozyra expands the feminist approach with a political aspect: the dogs in her work, played by Arabs and Americans, are aggressive and ready to jump down each other’s throats any minute. Kozyra might therefore have more in common with Oleg Kulik, who attacks the establishment in his performances as a dog (literally!), but also dreams of a non-anthropocentric, ecological society and fights for democracy.

Lou Salome Palais Schwarzenberg: Lou Salome with Rilke and Nietzsche

Lou Salome Palais Schwarzenberg: Lou Salome with Rilke and Nietzsche, 2005

90 x 60 cm

Photograph

In a video and a photographic series created at the Schwarzenberg Palace in Vienna, Kozyra plays the role of Lou Salomé – an intellectual and a femme fatal, friend of Friedrich Nietzsche, Sigmund Freud and Reiner Maria Rilke. In Kozyra’s interpretation, Nietzsche and Rilke are subjected to training as two dogs led on a leash by Salomé, again played by Kozyra, who walks them through the palace halls and takes them out to the gardens. The series Lou Salomé was created in 2005, but has never been displayed publicly in its entirety.

Lou Salome Palais Schwarzenberg: Lou Salome

Lou Salome Palais Schwarzenberg: Lou Salome, 2005

90 x 67 cm

Photograph

In a video and a photographic series created at the Schwarzenberg Palace in Vienna, Kozyra plays the role of Lou Salomé – an intellectual and a femme fatal, friend of Friedrich Nietzsche, Sigmund Freud and Reiner Maria Rilke. In Kozyra’s interpretation, Nietzsche and Rilke are subjected to training as two dogs led on a leash by Salomé, again played by Kozyra, who walks them through the palace halls and takes them out to the gardens. The series Lou Salomé was created in 2005, but has never been displayed publicly in its entirety.

Lou Salome Palais Schwarzenberg: Rilke

Lou Salome Palais Schwarzenberg: Rilke, 2005

60 x 90 cm

Photograph

In a video and a photographic series created at the Schwarzenberg Palace in Vienna, Kozyra plays the role of Lou Salomé – an intellectual and a femme fatal, friend of Friedrich Nietzsche, Sigmund Freud and Reiner Maria Rilke. In Kozyra’s interpretation, Nietzsche and Rilke are subjected to training as two dogs led on a leash by Salomé, again played by Kozyra, who walks them through the palace halls and takes them out to the gardens. The series Lou Salomé was created in 2005, but has never been displayed publicly in its entirety.

Lou Salome Palais Schwarzenberg: Nietzsche

Lou Salome Palais Schwarzenberg: Nietzsche, 2005

60 x 90 cm

Photograph

In a video and a photographic series created at the Schwarzenberg Palace in Vienna, Kozyra plays the role of Lou Salomé – an intellectual and a femme fatal, friend of Friedrich Nietzsche, Sigmund Freud and Reiner Maria Rilke. In Kozyra’s interpretation, Nietzsche and Rilke are subjected to training as two dogs led on a leash by Salomé, again played by Kozyra, who walks them through the palace halls and takes them out to the gardens. The series Lou Salomé was created in 2005, but has never been displayed publicly in its entirety.

Lou Salome Palais Schwarzenberg: Carriage

Lou Salome Palais Schwarzenberg: Carriage, 2005

90 x 125 cm

Photograph

In a video and a photographic series created at the Schwarzenberg Palace in Vienna, Kozyra plays the role of Lou Salomé – an intellectual and a femme fatal, friend of Friedrich Nietzsche, Sigmund Freud and Reiner Maria Rilke. In Kozyra’s interpretation, Nietzsche and Rilke are subjected to training as two dogs led on a leash by Salomé, again played by Kozyra, who walks them through the palace halls and takes them out to the gardens. The series Lou Salomé was created in 2005, but has never been displayed publicly in its entirety.

Queen of the night from Pelago

Queen of the night from Pelago, 2010

150 x 120 cm

Photograph

In the small city of Pelago in Tuscany, four men transport up a hill a figure of a saint with a mask of Kozyra's face. The Maestro is wearing a Rat's Mask and leads the procession dancing.

Madonna from Pelago

Madonna from Pelago, 2010

150 x 120 cm

Photograph

In the small city of Pelago in Tuscany, four men transport up a hill a figure of a saint with a mask of Kozyra's face. The Maestro is wearing a Rat's Mask and leads the procession dancing.

Cheerleader 05

Cheerleader 05, 2009

70 x 100 cm

C-Print

“Cheerleader” was conceived as a pop video to the music and words of the Gwen Stefani song “What You Waiting For?” The scenes unfold in a typical men's locker room, evoking clichés of femininity and masculinity. In the beginning the young, fit men do not pay the slightest attention to Kozyra, the attractive, singing and dancing cheerleader. But when she reappears in her nude, obese, female opera singer costume, the thong-clad athletes stand at full attention. The video explores, amongst others, the problems of the body as a costume and of one's own identity that have frequently been the artist's preoccupation.

Cheerleader 01

Cheerleader 01, 2009

70 x 100 cm

C-Print

“Cheerleader” was conceived as a pop video to the music and words of the Gwen Stefani song “What You Waiting For?” The scenes unfold in a typical men's locker room, evoking clichés of femininity and masculinity. In the beginning the young, fit men do not pay the slightest attention to Kozyra, the attractive, singing and dancing cheerleader. But when she reappears in her nude, obese, female opera singer costume, the thong-clad athletes stand at full attention. The video explores, amongst others, the problems of the body as a costume and of one's own identity that have frequently been the artist's preoccupation.

Women are waiting 03

Women are waiting 03, 1998

150 x 200 cm

C-Print

The series Women Are Waiting is a study of the aging body. Kozyra started working already with older women in 1994. Her interest in the body and the passing of time resulted from Kozyra’s need to familiarize herself with the changes occurring in the body under the influence of disease or time and her personal situation when she was suffering from leukemia, a type of cancer. The search for older women who would volunteer to pose naked in front of a young girl holding a camera, the convincing process and finally the photographing took almost five years. Eventually this search was reflected in her most well-known work Women’s Bathhouse.

Women are waiting 05

Women are waiting 05, 1998

150 x 200 cm

C-Print

The series Women Are Waiting is a study of the aging body. Kozyra started working already with older women in 1994. Her interest in the body and the passing of time resulted from Kozyra’s need to familiarize herself with the changes occurring in the body under the influence of disease or time and her personal situation when she was suffering from leukemia, a type of cancer. The search for older women who would volunteer to pose naked in front of a young girl holding a camera, the convincing process and finally the photographing took almost five years. Eventually this search was reflected in her most well-known work Women’s Bathhouse.

Blood Ties

Blood Ties, 1995

100 x 100 cm

C-Print

Katarzyna Kozyra's work Blood Ties consists of four photographs and is based on an antithesis between religion and the human being impersonated by the display of naked female bodies: the two laying sisters are juxtaposed with huge religious symbols of the Islam and Christianity in the background. These dominate blood-red coloured emblems form the majority of the composition with their shade and size. By their symbolic character they can be switched easily from one work to another and be read as "the devil's signs" representing the evil in everything. The struggle to justify someone's religious values in terms of feminism syncs with this metaphor. Religion as a male dominated terrain is criticised alongside the general masculinisation of power while the female union of sisterhood contrasts against this patriarchy and fights the depiction of a woman as a subject. Furthermore the protagonists' familistic relationship builds another struggle that can be found throughout society: sibling rivalry tied by blood.