Kirsten Justesen,
Klassenkampen
1976, photograph, taken at Rikke Diemer’s studio
Kirsten Justesen
Klassenkampen
1976, photograph, taken at Rikke Diemer’s studio
Ice Wings #1 (Flying Images)
1980-1982, photograph
Lunch (Housewife Pictures)
1975, photograph
In the 1960s, Kirsten Justesen (*1943, Denmark) began using her own body as a material and tool, most prominently in her photographic works, where image, object and performance stand in close relation to each other. For
Sculpture #2
(1968), she put the photograph of a caged woman in an open cardboard box, as if she were trapped inside. The role of women in the domestic context is the subject of
Forestillinger & Besværgelse
(Imaginations & Conjurations, 1973), a photographic sequence showing a naked woman handling small cakes and trying to squeeze milk from her breast. In
Lunch
(1975), a nude woman sits in a shopping cart. Three years later, Justesen became more interested in a wider political framework. In one work, she can be seen sitting in a kitchen with children behind her, reading a large drawing with the word
Klassekampen
(Class Struggle) (1977). In 1990, she staged a performance on the beach as a nude mermaid vacuum cleaning (
Mer Maid / Hav Frue
, 1990). Since 1980, her works often incorporate ice as a material.
artist's website:
www.kirstenjustesen.com
Courtesy Kirsten Justesen
Issue date
1975 - 1982
Relations
Kanonklubben (KAN 1)
Tags
body object relation
,
consumerism
,
housework/carework
,
labour
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abstraction
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