Katrin Fridrik’s “Perception of the Stendhal Syndrome” & More.

Icelandic abstract conceptual painter, Katrin Fridriks, recently installed her work at the Palazzo Bembo in Venice, Italy. Her large installation Perception of the Stendhal Syndrome will be part of the “Personal Structures – Crossing Borders” group exhibition opening in the context of la Biennale di Venezia 2015  on May 7th & 8th, 2015. The show features a broad variety of artistic media, including video, sculptures, paintings, drawings, photos and installations from more than 100 participating artists representing over 50 countries and will stay on view through November 22nd, 2015. 

The topics Time, Space and Existence are highlighted from unusual, very personal points of view by participating artists such as Carl Andre (USA), Daniel Buren (FRA), Joseph Kosuth (USA), Francois Morellet (FRA), Hermann Nitsch (AUT), Yoko Ono (JAP), Roman Opalka (FRA), Lawrence Weiner (USA) and others. 

Currently, Fridriks’ installation “Riding Awareness - Noble Eye catcher” is included in a an extensive overview of Icelandic contemporary painting at the Reykjavík Art Museum in Kjarvalsstaðir. 

Coinciding with these important events, her first monograph will be released in June through the art publishing house Skira, providing a journey through past 15 years of Fridriks’ creation and evolution. Also, a new 8 color-silkscreen fine art print release “Royal Gene & Ethics” is scheduled with her London gallery, Lazarides.

Continue below to see a video of her “Perception of the Stendhal Syndrome” installation:

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my actions require the most extreme sensuality. turning physical and bodily givens inside-out is the leitmotif of the theatre of orgies and mysteries, bloody and moist internal organs are constantly in view. entrails and intestines are laid bare, and the vegetativecreaturely, incarnate occurrence of our species is constantly demonstrated. In this sense, organic forms repeatedly find their way into my architectural drawings. the entire thing, all developmental stages of the natural occurrence that is the human being, is to flow into this rampantly proliferating architecture. therefore, repeated structures of intestine, kidney and liver forms, human and plant-derived organic forms. the mannerist expansion of my theatre project makes it conceivable that my actions take place in an architecture in which not only individual organs, but the entire human body is reformed into spaces. the act of starting with rather abstract organic forms led to my present designs for actual architectural forms which literally replicate entire bodies or refer thereto. drawings such as the last supper and the entombment of christ are architectural drawings according to figurative models.

Hermann Nitsch