In Cleaning the Pool (2016), I am removing snow from an abandoned swimming pool in the northern Italian Alps. The lines created are only visible from the zenith perspective, where the edges of the pool frame the scenario. [...] the ephemeral painting is driven by movement, a process of creation through removal. My thoughts on the work: For me, the work is about place, locality and perspective. The lines created are reminiscent of a gestural painting,which was only visible from the zenith perspective. The edges of the swimming pool become the frame of an ephemeral painting. The body movement, a performative act, becomes important to the work, the center of attention, by making the process of creating something by removing visible.

Obscura (Yellow)

Relics for a Possible Future

Inspired by the expressiveness of the paintings and frescoes of historical Italian masters and fascinated by the role they played in the world view of the people of that time, I began the series of works Relicts for a Possible Future. Particularly the effect of weathered frescoes as a viewer and the realization that everything that surrounds us is subject to a process of decay and thus only remains as a fragment for future generations became the basis for the work. In search of a similarly functioning dogma in our time, collages were created from collected contemporary newspaper and online media images, which were then transferred on wooden panels and canvases.

Inkjet on billboard paper, 500 x 950 cm

A Long Long Way from California to Casablanca.

Director: Jonas Kolecki
Producer: Caroline Roos
Editor: Bodoga
Post Production Company: Rebel Noise Films
Production Company: Phantom Island Films

WILLI the Cat is an exhibition that explores some of the possible relationships that exist between humans and animals, men and buildings, living creatures and places, life and unanimated objects. From psychology to politics, from the voices heard by schizophrenics to the removal of the animal that lives inside of us and from outside, presses itself against a window to get inside, from the “barbarians” to the nomad and to the migrants, WILLI is a platform that develops by expanding some of the tastes of the idea of threshold, refuge, and dwelling, crossing from one perceptive state to another.

Architecture moulds our consciousness before we realize it, space commands with subtle imperative ways, but cats are phlegmatic, and teach us how to reject limits with elegance. WILLI is a sensorial environment, a spatial and perceptual experience that displays some artworks of students of t he Free University of Bolzano together with others from Antonio Dalle Nogare’s private collection, interwoven in a subliminal feeling.

WILLI is orchestrated by Massimo Bartolini and Luca Trevisani, with artworks by Allora & Calzadilla, Vincenzo Ag netti, Annika Althoff, Carl Andre, Charles Atlas, Filippo Contatore, Sara Cortesi, Chiara Duchi, Adriana Ghimp, Dan Graham, Jonas Kolecki, Richard Long, Gordon Matta-Clark, Lilian Polosek, Irene Rainer, Gregor Schneider, Andreas Slominski, Michael Ungerer, Italo Zuffi.

I Did not See it Coming

Jonas Kolecki is a filmmaker, painter, and collagist whose multidisciplinary practice centers on time as both a tool and a subject. His work explores themes of ephemerality, decay, and the human impact on landscapes—physical and conceptual alike. Through site-specific and context-sensitive approaches, he creates projects across painting, film, performance, and collaboration that investigate the traces and transformations left by human presence. (Mariam Elnozahy – Artistic Director, Konsthall C Stockholm)