Krisztina FAZEKAS-KIELBASSA
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About
Krisztina Fazekas was born in 1977 in Hungary, but she moved to New York in 2004 after she finished her degree in media and communication. Her photographic work was selected for juried exhibitions and auctions across the United States and she continued to exhibit her work in Eastern Europe.In 2007 she decided to advance her academic knowledge about arts and took an MA program in Photographic Studies at University of Westminster in London. The same year she participated in the Renaissance competition where her work was selected as one of the winners and was exhibited at the Proud Galleries. She was also selected for Transform competition, and her work was shown in London and Italy. She participated in the Puzzle Project and volunteered as a visiting artist in the Young Offenders program at Camden Council.The very same year she decided to curate exhibitions (she organized two group shows at Foundry in London) and after moving back to Hungary in 2008, she opened a small gallery, which shows young talented artists from across the globe.In her work Krisztina Fazekas approaching the notion of home and memory, and the personal relationship between human beings and certain places that trigger memories, as they would be able to contain particles of human life. She is also aware of being a woman and a female artist in the 21st century and in several projects she approaches ideas about male-female relationships, expected behaviours and social expectations women are torn between.In 2010 her work titled Holofernes got an honorable mention at the Professional Women Photographers 35th Anniversary Women International Juried Photography Exhibition and was an Official Selection at Px3 Photo Paris Prize in 2011.
Pursuit of the Whole
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Pursuit of the Whole (2007-2008)
In Plato’s Symposium Aristophanes, the Greek dramatist describes life as the desire of the whole and love as the pursuit of the whole. He evokes an ancient legend about the sexes. Originally man and woman were one, but when they turn against the gods Zeus splits them into two and they are determined to look for one another. If they can find each other, they can rejoin in marriage. But even if their search is successful, and the pair is inseparable and live together in pure affection, they are not able to tell what they want of one another.The ‘Pursuit of the Whole’ project describes the search process for the perfect match. The five narratives follows the artist who tries to find her ‘other half’ through different kind of relationships. She relives the engagement and the separation again and again, just as the men she meets.
Self-Storage
Astroland
Brighton
Nantes
Tibidabo
Prater 1
Prater 2
Prater 3
Self-Storage (2007-2010)
"...Why is it, for example, that so many well known - mostly men - photographers have 'returned' to the same sites associated with youth and courtship, for example the investigation of family homes, parks, seaside resorts and funfair places, places and scenes of adolescent dreams? To take the relevant example here, famous photographers fascinated with the space of funfairs are absolutely abundant, from Lewis Hine to Robert Frank and Bruce Gilden, Coney Island in New York is returned to again and again, like criminals to the scene of crime. In the UK there are many photographers too from Tony Ray Jones to Martin Parr ... and others. Already these seaside sites and their leisure objects - funfairs- have a fundamental pastness about them. The machines of the funfair seem to have a nostalgia in their archaic mechanical pleasures, but perhaps this effect is based, not so much on their pastness, as a sentimental loss, but more as an enigmatic space that has some unfathomable significance. This enigmatic meaning only manifests as a sense of loss, i.e. a non-meaning only appears as like a lost experience. Perhaps this is why teenagers so often find themselves at home in such places. The funfair is a space that is not a place. It is somewhere one can stay, as though 'at home' without deciding where it really is. 'Killing time'. The smell of popcorn, and salty air amidst the brightly painted, strange contraptions intended to whisk the human body into an alienating state offers, perhaps, an anxious homeliness floating exterior to concrete historical and cultiral space. The idea of a funfair as a kind of home is not absurd; indeed many characters have usually found the funfair to be some kind of refuge, from evil, their families or enemies or even from themselves. It offers them a respite from social and their presence in the human narrative of history." David Bate(from Text and Work ed. Violet McClean 2006, originally published Reader in Photography, University of Westminster, London 2006)
You are not fun
colder and longer
so guess what.jpg
if you werent there.jpg
No wake up together
No tea together
No breakfast together
Your break-up line
You are on the guestbed
You are behind the door
You are leaving
You are not fun anymore (2008-2011)
This project tells a personal story about a break-up that happened in 2008. It took me more than two years to finish it mainly because of the deep personal feelings it stirred up every single time when I started to deal with it. It was also hard to find the correct form to give all details necessary to understand what actually happened.I started to take photos to preserve the memory of the visit of my loved one, 'S'. But this visit ended up with a break-up. The first triptych was taken before the break-up; the second triptych was taken after the break-up.The first triptych records the room where I was waiting for 'S'. The second triptych records the instant moments when 'S' steps out from my life forever. I recorded the moment, when 'S' closing the door behind himself as a candid “paparazzi” who spies on her own life. I also included personal documents and voiceovers in order to justify my own veracity.
Prodigal Daughter
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Prodigal Daughter (2008 - 2009)
In this project the artist exemines the ambivalent relationship of mother and daughter through objects.The daughter has lived alone in the house where she was raised for almost ten years. During this time her mother was working abroad. The daughter was sourranded with her mother’'s objects and for years she did not touched them believing that her mother will come home soon.After four years she decided to form the house to her own image. She was at the beginning of her adulthood being 22 years old and needed to have her own space where she could feel home.Then the daughter has started to travel and the mother came home. The transformation of the house changed. Now the mother started to form back the house to her own image. The daughter’s everyday objects have gotten new functions and new objects appeared.For the outsider these changes are unpercieved, only mother and daughet are aware of it.
Torn
Samson
Joseph
John
Holofernes
Torn (2008)
In this project, Krisztina Fazekas queries the validity of thousands of years of stereotypes of the femme fatale. Her images reinterpret Biblical love stories that take a negative view towards women who take an active role in their relationships, but the persistence of these stereotypes means that they are deeply grounded in Western culture, modern commonplaces and her own experience.The women in Fazekas's photographs seem emancipated and captured in situations wherein they have the possibility to act out their liberation. Still they are torn between the double standards of patriachial society and the expectations torwards socially and sexually liberated women.The images condense these personal decisions between social norms and own will into single key moments.The staged ambiguity refers to the ever-changing power games between men and women and the delicacy of human relationships. The paradigmatic layers of meanings encapsulated in the images express the human inability to understand others while providing the scaffolding for a modern exegetical reading of ancient, holy stories.
Off-Season
Coney Island 1
Coney Island 2
Coney Island 3
Coney Island 4
Coney Island 5
South Beach 1
South Beach 3
South Beach 2
Venice 3
Venice 2
Venice 1
Zantvoort 1
Zantvoort 2
Zantvoort 4
Zantvoort 3
Off-Season (2007 - 2010)
There are places in the world that are always crowded. There are only few moments when the spectator can enjoy them in their pureness, whitout the disturbing human presence.In these moments these places are showing an other face. The artist in this project shows this other face.
Single images
The garden
The house
Single images
Video
"Self Portrait" Experimental Film
Geckos inspire experimental adhesive
Experimental Beat 2011 Instrumental
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Year of production: 2007Running Time: 2:30 minColor/ Sound/ SubtitledLorem ipsum dolor sit amet, consectetuer adipiscing elit. Fusce tempor arcu ac urna. Fusce congue eleifend mi. Pellentesque metus sem, elementum eu, rhoncus sed, gravida sit amet, nulla. Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Aenean condimentum, odio quis pharetra dignissim, diam nisl dignissim diam, eu interdum magna erat sit amet felis. Etiam non felis at urna tempus luctus.
Year of production: 2007Running Time: 2:30 minColor/ Sound/ SubtitledLorem ipsum dolor sit amet, consectetuer adipiscing elit. Fusce tempor arcu ac urna. Fusce congue eleifend mi. Pellentesque metus sem, elementum eu, rhoncus sed, gravida sit amet, nulla. Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Aenean condimentum, odio quis pharetra dignissim, diam nisl dignissim diam, eu interdum magna erat sit amet felis. Etiam non felis at urna tempus luctus.
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About
Pursuit of the Whole
Self-Storage
You are not fun
Prodigal Daughter
Torn
Off-Season
Herbie Hancock.mp3
Krisztina Fazekas-Kielbassa copyright © 2011
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