Lena Knilli: Serie Kirchengrundriss und Becken, 2010-2012
geboren 1961 in Graz, lebt und arbeitet in Wien. Sie studierte Malerei an der Hochschule der Künste in Berlin sowie an der Hochschule für Angewandte Kunst in Wien bei Maria Lassnig. Ihre Arbeiten stellte sie unter anderem in Wien, Graz, Prag, Brünn, Ljubljana und in den USA aus. Im KULTUM wurde Knilli in den Ausstellungen „mutter. Neue Bilder in zeitgenössischer Kunst“ (2010) und „Seelenwäsche“ (2013) gezeigt.
born in Graz in 1961; lives and works in Vienna. She studied Painting at the UdK Berlin and in Maria Lassnig’s class at the University of Applied Arts Vienna. She exhibited her works i.a. in Vienna, Graz, Prague, Brno, Ljubljana, and in the USA. Knilli’s works were shown in the KULTUM in the exhibitions “Mutter. Neue Bilder in zeitgenössischer Kunst“ (2010) and “Soul Underwear“ (2013).
Lena Knilli: Series Ground Plan of a Church and Pelvis, 2010-2013
Contradictions are no obstacles for belief: To conceive the body as not only a sum of cells controlled by the brain but to perceive it as a spiritual space electrifies the viewer as it makes up the fascination of Lena Knilli’s art. Knilli combines underwear and clothes with ground plans of Baroque churches—most of them from churches in Prague. Underwear is turning into “soul underwear”. What is also touched in the process is its fragile dignity, which is linked to the intimacy of underwear. The access to this is at first opened up with two plotting systems of “sections”: the architects’ ground plan and the dressmaking patterns of the tailor’s craft. Is such garment design unwearable, is it a corset, do its individual parts offer support and solidity? Lena Knilli deals with “timeless signs”, with the human body and what “is given to it”. Her lines defining the body or its garment are always characterized by unfamiliar beauty. In a series which was presented for the first time in this exhibition, ground plans of Baroque churches were combined with underwear, swimsuits or jackets. It is also the female pelvis twice, the first door through which we enter life. Both pelvis and underwear offer support, serve as corsage, or are simply the continuation of the design of the clothing. Yet the connection of both areas is known to be very fragile. What is also fragile is the materials and how the artist eventually uses them. Last but not least, the association of body and Church is fragile too, the drift into violation and abuse. The relationship between the Church and the body is glamorous. It is described in mystical ways and is still also absolutely real. It is superelevated, regimented, and fractured; and is left to everybody’s discretion in the form of actual buildings, also to those who do not believe in this liaison. Being nothing but the message within these interspaces, which can also be sheer abysses: This is where this art is strongest. Of course, the aforementioned relationship is not only spatial; it inscribes itself into the body where there are binding rituals which constitute a biography and a religious one in particular.
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. 452-457.