#Nico Krijno

[lizpurr]

Nico Krijno

[disease]

Data transfer in the Dana kil depression. (If that thing can fly so can I) [NICO KRIJNO, 2021]

[ojo-rojo]

Nico Krijno.

https://nicokrijno.com/

[mimeticspace]

nico krijno

[guy60660]

Nico Krijno | LensCulture

[slack-wise]

Nico Krijno

[brianrope]

Resistance Relapse

Photography Exhibition Review Resistance Relapse | Nico Krijno Photo Access | 29 June to 12 August Resistance Relapse is an Australian premiere of esteemed Cape Town-based, South African artist Nico Krijno whose free-flowing creative process disrupts and transforms familiar, figurative representations into the realm of mirage and illusion. It builds on his extensive previous performance,…

[est-ce]

Extraction\ : Mon éducation

　Tout de notre temps l'histoire monstrueuse ritournelle moi r. crumb l'illustrateur de ce livre ai vu à boston en présence de ses fils insensés nous ne sommes plus laisse tomber roman digital cameras to elevate the art of photography troubles d'image nico krijno recueille cause en tout explications phrases usinées successives indifférent au présent films répugnants aux yeux de notre jeunesse true crime me donner une chance de terminer mon éducation.

(idem, 2019)

[mosertone]

Nico Krijno

[mariaangels]

Nico Krijno

[joshuaoliveira]

Nico Krijno

[lizpurr]

Nico Krinjo

[nicokrijno]

Nico Krijno Collages 2020-2022

14,5 x 19,5 cm, 448 p, ills colours, paperback ISBN 9789464660678 design and edit: Jurgen Maelfeyt

edition of 1000 November 2022

€45 First edition pre-order

Every order comes with one free unique photo print, 11×15 cm, randomly picked. Only available in pre-order.

On paper, a book may seem a peculiar object to accommodate Nico Krijno’s work. By virtue of its form, a book is finite, a neat vessel that lends itself to those narratives with a beginning and end. Krijno’s work, however, is not finite; it has no resolution or discernible moments that can be easily pointed at, bound and labelled. And neither does it ebb or flow in tidy rhythms but accumulates, constantly and relentlessly. If anything, Krijno’s work feels — as it always has — more akin to some outpouring of seemingly blithe, childlike play: disorientating and fantastical, and at times almost absurd, but wondrous nevertheless. It is this outpouring though that puts Krijno’s work at odds with the book.

Yet for all of this, the book, of which Collages 2020-22 is the latest and most generous, feels a necessary endeavour. When seen in this way, en masse yet contained, it is arguably when we can best understand Krijno. Here we can understand the gravity of performance and process; understand how his work is always more than the sum of its parts; understand how he drifts in one direction to unravel new forms and ideas before returning to a more familiar albeit now different path. And we can understand that for all the similarities his work has with unbridled play, there is something more pointed, more intentional; a kind of persistence and eagerness to exhaust all possibilities that does not exist in the wholly innocent play of a child. Seen in an exhibition or online, one fragmented and the other truly endless, these characteristics and intentions feel more hidden, less tangible. It could be said then that Collages 2020-22 is necessary on two fronts. First, as a way to better understand Krijno, and second, as a way to hold onto something that otherwise is inevitably fleeting.

[ojo-rojo]

Nico Krjno: "Gel".

[mimeticspace]

nico krijno

[dulcieisabel]

Nico Krijno