Cajsa von zeipel bio

Tangled Peace Area Trading at the corner of canal Stranger at your own party Public Display of Emotions Let them eat cake Ecstasy Jetlag Blind-mans Bluff Passing Through Kicking Legs The Zoo Collective Crane Bed Scene Tjejspyan The cajsa von zeipel bio refers to the artist's role as dreamer, Group-Exhibition 13 Oct - 7 Jan After Laughter Comes Tears is the second edition of the Mudam Performance Season, an experimental exhibition dedicated to performance, launched in Conceived as a We hope to see you in Hall 2.

Partant du travail des artistes Caroline Poggi et Jonathan Vinel, l'exposition In the works of We take a seat on a black leather sofa in the 60s style, surrounded by floor-to-ceiling shelves from which a colorful hodgepodge of household items, rolls of cloth and toys well up, and water pistols, vibrators and synthetic hair wigs lie harmoniously next to each other until Cajsa processes them into a new sculpture.

The interview can begin. The name comes originally from Belgium, then my family came to Germany and after they went to Sweden. I came to New York in Sometimes life changes because of boredom … In Stockholm I saw no perspective anymore, although I liked the place. But when it came to my creativity, I felt I had to move. I was supposed to stay in New York for six months.

But after four weeks I met Sophie, who is now my wife. I went to the first opening of her gallery. She is also from Sweden but has lived here since She is very much American. I grew up in the art world because my mom is a curator at the Gothenborg Konsthall. The artists came to our house. I was never scared of art, although I still had respect.

So I decided to become a technical artist, doing everything myself. My father was working for the community, improving recycling and environmental things. He taught me that you stop when you feel you are done. I mainly worked with room-filling installations in Stockholm, always asking myself how to move someone. My installations had an embracing and inviting character.

I didn't want to be ignored. In Stockholm, I was a club kid. The people around me, that scene was very much about appearance, style and body image. My experience in Germany was not the best. Partly, I was working on a new project about starving myself. Striving for excellence, getting into the bones … I was fascinated and caught up in that, but I wasn't seriously obsessed.

It was more like an art project.

Cajsa von zeipel bio

I documented what was happening to me and my mind. I tried not to eat. And that had an impact on my body. I realized that I could see my knees and their structure better. One can say I studied my body like an object. I did this for eight months; however, I realized that I had to get out of it. I went back to Stockholm, finding myself in a styrofoam workshop, and all of a sudden, I knew what a knee looked like.

I got addicted to the idea of breaking the pattern I was already in. I started to sculpt the bodies I was interested in having. The sculptures are always thin, perfect bodies, so to speak. Why do they seem to be provocative and sexualized? Because I am a lesbian laughs. The sculptures reflect my attraction to the female body even more.

They are objects that can create questions. I grew up with the feministic discussion, asking myself how to be a good and how to be a bad girl. I have always been very keen on not creating victims; they are sisters or warriors. So the provocative side of them reflects their assertive attitude. The female aspect always has an essential impact on me.

The male gaze is very annoying to talk about. Log in Sign up. Access complete market analysis. Unlock exclusive artist performance data. Art History. Book Reviews. Search History. Cajsa von Zeipel Where can I see Cajsa von Zeipel's works?