Elke Krystufek’s artistic practice has centered almost wholly on duplicate and substitute images of herself, specifically emphasizing the female body and its position within the discourses of art history and gendered identity. While an earlier generation of feminist artists used their bodies as subject and object of their work in order to critique stereotypes and forcefully dismantle barriers that excluded women from the public sphere or labeled them objects of desire, Krystufek uses similar tactics to point to the fact there is no longer a private space. Identity is not solely the property of an individual, but rather an open space for collaborative contribution. The juxtaposition of personal narrative and cultural history is used to call attention to the slippage between the realms of public and private, and the implications such transmuted boundaries have on perceptions of self and other. Through various media Krystufek reworks common notions of feminine identity in order to force new readings. By using re-appropriated characters and scenarios as a starting point she is able reframe the argument, but rather than trying to reclaim an excluded history Krsytufek writes a new history that can be continuously rewritten, thus offering alternative hybrid concepts of the self.
Art Practice | Contemporary Art | Fine Arts | History of Art, Architecture, and Archaeology | Theory and Criticism
Emerson, Melanie E., "Elke Krystufek and the Obessive Production of Person" (2012). Mid-America College Art Association Conference 2012 Digital Publications. 14.