Judith Zillich: lieb und gern, 2005
geboren 1969 in Graz, Österreich, lebt und arbeitet in Wien. Zillich wuchs in Salzburg auf, besuchte die Meisterschule für Malerei bei Gerhard Lojen in Graz und studierte an der Akademie der Bildenden Künste in Wien unter anderem bei Arnulf Rainer. Die Arbeiten der 2000 mit dem Theodor-Körner-Preis ausgezeichneten Künstlerin wurden u.a. in Kopenhagen, Salzburg, Wien, Berlin, Linz, Prag und Hamburg ausgestellt. Im KULTUM wurde Zillich in den Ausstellungen „Junge Malerei“ (2002) und „mutter. Neue Bilder in zeitgenössischer Kunst“ (2010) gezeigt.
born in Graz in 1969; lives and works in Vienna. Zillich grew up in Salzburg, attended the Master School for Art and Design (Painting) with Gerhard Lojen in Graz, and studied at the Academy of Fine Arts Vienna, i.a. with Arnulf Rainer. The works of the artist, who received the Theodor Körner Award in 2000, were exhibited i.a. in Copenhagen, Salzburg, Vienna, Berlin, Linz, Prague and Hamburg. Zillich’s works were shown in the KULTUM in the exhibitions “Junge Malerei“ (2002) and “mutter. Neue Bilder in zeitgenössischer Kunst“ (2010).
Judith Zillich: fondly and gladly, 2005
Although it makes Judith Zillich feel uncomfortable to reveal private matters to the public and to expose intimate feelings, she sticks to her principles because she is concerned with the further development of her own painting and not with prostituting herself. “I am interested in my life and my perception, which I want to condense by means of painting.” Her own motherhood naturally entered the painterly reflections. Her selfinterrogations begin with watching her growing belly in the mirror, which is followed by intimate breastfeeding pictures and pictures of the sleeping child. She captured her observations in small format canvases she painted in the short painting sessions when her children took their after-lunch nap. She needed a week of after-lunch naps to complete one oil painting. She captured the unspectacular and everyday with the brush, without postmodern citations and free of irony. She has created more than 250 small-format oil paintings which are all characterized by touching intimacy. Giving and taking, closeness and distance are employed by the artist working on the subject of the skin. The pictures reflect the symbiotic relationship to the child from the mother’s corner of the eye. Distance, reflection, questioning of the mother role seem to be far away. She treats the primal experience of breastfeeding and the sleep of her children as untimely counterimages adverse to performance to a society for which the archaic of the beginning seems to have become foreign and which more and more surrenders to the imperative of permanent functioning and availability. Her happiness had no mercy in that time.
Text aus | Text from: Johannes Rauchenberger: Gott hat kein Museum. Religion in der Kunst des beginnenden XXI. Jahrhunderts. | No Museum Has God. Religion in Art in the Early 21st Century. (IKON. Bild+Theologie, hg. von | ed. by Alex Stock und Reinhard Hoeps), Verlag Ferdinand Schoeningh, Paderborn 2015, S. | p. 836-837.