Boaz Kaizman

Boaz Kaizman (1962) crosses the borders between different cultures, media and art forms. In many of his works images, objects and words are brought together in arrangements that do not readily combine to form an easily-consumable whole. Here Kaizman often implicitly refers to postwar art movements such as colourfield painting, minimal art and conceptual art. Over the years these avant-garde experiments have acquired an aura of sacrosanctity. Kaizman breaks through this by confronting them with one another and thus making their issues topical once more.

At CIAP the artist presented a work consisting of square and rectangular pieces of metal and wood arranged in perfect order on the floor. A letter is inscribed on each 'tile' in blue adhesive tape.
Together the letters form the word 'aristocrat' which is also the title of the work. Is this a painting or a sculpture? This question played a guiding role in a large part of postwar avant-garde art. The limited thickness and the two-dimensionality seem to indicate a painting. However, the materials used and their place on the floor indicate a sculpture. On closer inspection the tiles probably suggest a reference to the work of Carl Andre, one of the most important representatives of minimal art. However, while Andre's tile tableaux were made up of identical elements, Kaizman uses different materials and sizes. Moreover, through the letters he introduces a conceptual element which hampers perception of the work as a pure form. Furthermore the word 'aristocrat' is not consistent with Carl
Andre's anti-elitist view of art. In this work Kaizman combines minimal art and conceptual art - two art movements that both laid claim to 'truth' and 'purity'. The result is a very complex and ambiguous image which casts serious doubts on the legitimacy of these claims. 

- Peter Pollers


13.02 to 01.05.2005
13.02 to 01.05.2005
13.02 to 01.05.2005
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