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<dc:title xml:lang="fr">Kiki Kogelnik et les choses</dc:title>
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<dc:subject xml:lang="fr">XXe siècle</dc:subject>
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<dc:subject xml:lang="fr">Autriche</dc:subject>
<dc:subject xml:lang="fr">Pop art</dc:subject>
<dc:subject xml:lang="fr">Space art</dc:subject>
<dc:subject xml:lang="fr">Vienne 1900</dc:subject>
<dc:subject xml:lang="en">20th Century</dc:subject>
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<tef:elementdEntree autoriteExterne="027433609" autoriteSource="Sudoc">Corps humain -- Dans l'art</tef:elementdEntree>
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<dcterms:abstract xml:lang="fr">L'œuvre de Kiki Kogelnik a voulu se rapprocher du corps et en garder l'empreinte. Elle a mélangé le sémantique et syntaxique, développé des techniques d'image : le découpage, l'empreinte, le calque, et s'est intéressé à plusieurs langages du corps : celui de son entourage, de la médecine, ou encore de la mode. Elle a pu y mêler des objets du quotidien, ou leurs empreintes, et a permis à la forme humaine d'acquérir une autonomie pour devenir des sculptures, ou figurer avec elle dans des performances. Une opération polyphonique mais équivoque, car s'approcher de la sensibilité était aller à la rencontre de l'Histoire, et des soubresauts d'un siècle dont l'artiste émanait.</dcterms:abstract>
<dcterms:abstract xml:lang="en">The work of Kiki Kogelnick sought to get closer to the body and to retain its imprint. Mixing semantics and syntax, she developed various image techniques: découpage, imprint, appropriation. She was interested in several ‘‘languages'' of the body, borrowing from entourage, medicine, and fashion. Mixed into her work were daily objects, or their imprints, allowing the human form to acquire an autonomy to become sculpture, or to appear with her in performances. Hers was a polyphonic operation, yet ambiguous, approached with sensitivity as a way to meet History and the tumult of the century from which the artist emanated.</dcterms:abstract>
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