757:"Such a gentle embrace of absence and potential, of the quotidian moment of a sleeping baby or a playing child. (…) A completely unexpected introduction of experience. The experience of vulnerability where earmuffs signify a tiny head in need of protection from the elements. Cold so intense it threatens to freeze the tiny child's ears. All three remnants—of play, of vulnerability, of the absent hanging bodies— are at once cheerful, even sweet but the skin they stick to (the walls of the Lodz ghetto buildings) makes them painful. One sees life as much as absence in these talismans of childhood serialized (…) into grids across the surface of the buildings."
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915:"(…) Firstly, we have the female-male roles (he's the macho hunter while she's subjected to him; she's beautiful while he's strong). Then, the family roles (a picture of a young family with a Christmas tree, where the baby is, in fact, a doll) and "good advice" passed onto our role models by people from their social circle."
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One of the critics commented the interrelation between acts of violence and innocence of Janich's naked body in the following way: "Her body becomes an absolute, a sacrifice, an offering. An all-encompassing declaration of: I will do everything, give everything, just to get closeness in return."
693:"(…) Janich is against the self-mutilation taboo with all her self. Unlike Krystian Lupa or Francis Bacon, she needs pain to survive. She holds the right to inflict it like she holds the right to get an abortion done, she asserts. It is her business. It is anybody's personal business."
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regulating lives of a couple. In this piece the author's idea was to describe variety of emotions and mutual expectations of the partners. As in previous works Janich provided a kind of commentary to the captured scenes in form of short, hand-written sentences in red ink.
734:, which had its premiere in Łódź – the artist's birthplace in Poland. She decided to decorate the walls of three buildings – hospital at no. 35 Łagiewnicka street and two houses at no. 14 Franciszkańska street and no. 77 Drewnowska street – with
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is that "(...) it might somehow be an aftermath of the works (…) on the concentration camps which were far more political and also dealing with violence. So it's a getting rid of the violence and coming back to life".
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The installation was also commented: "Bits and Pieces forces us to imagine (and experience) the quotidian reality of the children that once were or might have been — parts that stand in for an absent whole."
360:'Janich' after her Jewish great grandma. This choice demonstrates an important role of the family history in her life. She became a member of liberal Jewish communities in New York and in Poland.
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restrictions. Based upon that distinction, Janich's career can be divided into two periods: first dating from her early works until 2012, and the second from 2013 to present.
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It is a series of 17 archival inkjet prints on cotton rag paper, 40x60cm / 16x20in each. This piece depicts various forms of
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environment has influenced her and had impact on her further career and choices. Also, the fact that she was raised in a
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It is a series of 30 archival inkjet prints on cotton rag paper, 40x60cm / 16x20in each. They refer to social norms and
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done to individuals. The critics as well as the viewers have responded to that "(...) distinct suggestion of dirty wet
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and destruction. What is distinctive in her approach is that almost all narrations she presents come either from a
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Booklet, Ed. Kathrin Becker and
Claudia Marion Stemberger, Kunsthalle Exnergasse, Vienna, Austria, (2010)
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1692:, Mazovian Centre for Contemporary Art Elektrownia, Radom, PL & Fotohof Edition, Salzburg, Austria,
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of darkened passages to rooms that dead-ended with videos of relentlessly barking dogs restrained in
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Janich's formal education in art history started in the 1st
Private High School in Bednarska Street,
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1797:, exhibition catalog, Ed. Eli Okkenhaug, Bergen Museum of Art, Bergen, Norway, 978-82-91808-5 (2012)
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In the second phase the major interests distinguishable in Janich's art include searching through
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that "(...) becomes the subject. Nonetheless, it is not the body of the Shoah, but a body which
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Consulate
General of the Republic of Poland in Sydney Artist's Grant, Sydney, Australia (2016)
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Ed. Kathrin Becker and
Claudia Marion Stemberger, Kunsthalle Exnergasse, Vienna, Austria,
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Can Serrat
International Art Center Artist's Residency & Artist's Grant, Spain (2008)
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It is a series of videos and photographs of the artist herself, exploring the theme of
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My
Strength is My Vulnerability, Thyrza Nichols Goodeve, in: Body Memory, Agnes Janich
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between two women "one focused on self-fulfilment and the other on serving others."
865:. A body which had been situated outside of the frame of the historical narrative".
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2844:"Ciała mimo wszystko – o projekcie "That You Have Someone" Agnes Janich | obieg.pl"
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493:, often of a social or cultural origin. In this case as well Janich often applies
466:'s perspective, or are communicated by the most defenseless of protagonists, i.e.
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from the
European Academy of Photography in Warsaw (2003-2005), studied at the
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603:" with anxiety, which was fully intentional, as the piece was inspired by the
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2967:"PÓŁ STRONY: Gest Tabaryna; Czysta przyjemność / Felietony / dwutygodnik.com"
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Vermont Studio Center Artist's
Residency & Artist's Grant, VT, USA (2008)
809:, 16x24in. each. Each photograph has a description made by the artist in red
669:. The artist's own interpretation of the reason to picture such violence and
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via her own family roots and relating it to the general notion of purity and
2072:"Kunsthalle Exnergasse skizziert mit "Bad Girls" aktuelle Feminismus-Fragen"
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Bureau of
Promotion of the City of Łódź, Artist's Grant, Łódź, Poland (2010)
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746:"(...) that could neither move past its prison walls nor survive the war."
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It is a series of photographs depicting the artist herself involved in an
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Virginia Center for the
Creative Arts, Artist's Residency, VA, USA (2006)
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2221:"Przyjaźń z artystą… może być korzystna dla biznesmena [WYWIAD]"
2045:"Agnes Janich - Artists - Plat(t)form - Explore - Fotomuseum Winterthur"
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Polish Consulate in Barcelona Artist's Grant, Barcelona, Spain (2009)
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2812:"Obieg, Bodies Despite All, on Agnes Janich's That You Have Someone"
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and violence. The work was first presented in 2009 during the ninth
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Polish Embassy in Helsinki Artist's Grant, Helsinki, Finland (2012)
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766:, Fotohof Edition, Salzburg, AT & MCCA Elektrownia, Radom, PL
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descent proved to be of great importance for her further artistic
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2604:"All Creatures Great and Small - Zachęta Narodowa Galeria Sztuki"
2367:"Agnes Janich Mlac - Museo Laboratorio d'Arte Contemporanea Roma"
2097:"No more bad girls? at Kunsthalle Exnergasse Vienna - Artmap.com"
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catalog, Ed. Robert Kardzis, Era New Horizons, Wrocław, Poland,
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Villa Sträuli Artist's Residency, Winterthur, Switzerland (2008)
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Polish Institute, Vienna, Artist's Grant, Vienna, Austria (2012)
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Polish Institute, Vienna, Artist's Grant, Vienna, Austria (2010)
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Polish Institute, Vienna, Artist's Grant, Vienna, Austria (2008)
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During the first phase Janich has been exploring the history of
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1803:, exhibition catalog, Ed. Ana Vilenica, Belgrade, Serbia (2012)
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Polish Institute, Moscow, Artist's Grant, Moscow, Russia (2012)
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Polish Institute, Moscow, Artist's Grant, Moscow, Russia (2012)
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Polish Embassy in Bern Artist's Grant, Bern, Switzerland (2009)
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differences and identity exploration seen through violence and
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Galesburg Civic Arts Center Artist's Residency, IL, USA (2006)
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Waverley Arts Council Artist's Grant, Sydney, Australia (2016)
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Polish Institute, Madrid, Artist's Grant, Madrid, Spain (2012)
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and talked to the Survivors in person. This piece depicts the
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After its premiere the piece was presented, among others, in:
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Koli Cultural Center Artist's Residency, Koli, Finland (2010)
825:. In order to retrieve them, Janich has searched through the
1757:, Bidouin and Sharjah Biennial, New York and Sharjah (2010)
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Polish Institute, Oslo, Artist's Grant, Oslo, Norway (2010)
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However, as seen in other Janich's works, the reference to
387:(2004–2005), and finally concluded her education holding a
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Polish Institute, Rome, Artist's Grant, Rome, Italy (2010)
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2404:. Mazowieckie Centrum Sztuki Współczesnej "Elektrownia".
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Proekt Fabrika Artist's Residency, Moscow, Russia (2012)
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Sky Foundation Artist's Grant, Sydney, Australia (2016)
367:, Poland (2000-2003). She continued her studies at the
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visual artist working with photography and installation
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Janich's works reveal her two major interests: one is
2938:"Culture, Dolls As A Metaphor Of Cruelty, in: PRAVDA"
1076:, Library Gallery of the University of Warsaw, Poland
2458:"The National, UAE, Of robot arms and installations"
1985:"Tristesse, nostalgie, peur (Biennale de Sharjah 1)"
801:, intimate relation with a lover. They are archival
1719:, Jungkunst Galerie, Winterthur, Switzerland (2008)
583:Its interpretation is unambiguous: "This extremely
399:(2006-2008), a college that shaped artists such as
237:. She has presented her work in, among others: 9th
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2260:"Agnes Janich: - Można by ze mnie zrobić 21 mydeł"
685:violence to relationship violence. Her piece is a
321:, though soon after her birth her family moved to
2196:"Agnes Janich Biography – Agnes Janich on artnet"
1830:"Painful Experiments on Dolls in: Rzeczpospolita"
285:, New York. She took part in Art Edition Fair in
568:, where it was well received and commented as a
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762:Thyrza Nichols Goodeve, PhD, in: Agnes Janich,
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427:entanglement, often seen from a perspective of
3063:Jerne, Charlotte Isabella Aarre (2005-03-30).
2547:"Geschichte vergegenwärtigen - derStandard.at"
1673:Research Program, CCA Kitkayushu, Japan (2014)
868:The piece has been exhibited among others in:
681:appears obvious here as well, as she compares
2126:"Światłość w ciemności - performance - MOCAK"
556:(2012), addressing the subject of preserving
485:in search of what can be called 'the root of
8:
3018:"Vente aux enchère aux profits des réfugiés"
2749:"Agnes Janich Body Memory - Wydarzenia O.pl"
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2151:"Agnes Janich At Art Edition Fair In Seoul"
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1507:Bondi Beach & the Waverley Arts Council
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793:Agnes Janich's work "That You Have Someone"
257:, Central European House of Photography in
2992:"Le resume de l'actualite romande - Video"
572:project "where viewers were led through a
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1622:I-Park Artist's Residency, CT, USA (2006)
1392:International Contemporary Art Foundation
591:". Its main theme is brutal violence and
221:. Within her practice she deals with the
120:Learn how and when to remove this message
1735:, Ed. Antonia Carver, Valerie Grove and
689:, as are her opinions and commentaries:
2311:"Agnes Janich, Marta Raczek-Karcz, PhD"
1815:
1739:, Bidouin and Sharjah Biennial, Dubai,
1328:Bureau of Promotion of the City of Łódź
489:' between two individuals tangled in a
289:, Hangaram Art Museum. She is based in
209:: Agnieszka Jeziorska, (born 1985) - a
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2486:Carver, Antonia; Khaldi, Lara (2010).
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1751:Provisions. Sharjah Biennial 9. Book 2
1733:Provisions. Sharjah Biennial 9. Book 1
920:Marta Raczek-Karcz, PhD in: Culture.pl
896:, Poland, 2012, (solo, with catalog).
700:Painful works of Agnes Janich in Radom
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1290:These Are A Few Of My Favorite Things
1135:Central European House of Photography
720:, Poland, 2012 (solo, with catalog).
599:, ruddy dog breath, and high-pitched
7:
2284:Dzierżanowski, Marcin (2013-04-14).
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1453:, Platform 2012 (group presentation)
639:, Warsaw, Poland (2009–2010) and in
587:work is a comment about prisons and
520:leading the viewer through complete
309:Agnes Janich's work "My Mom's Diary"
1275:Can Serrat International Art Center
1096:Maison Europeene de la Photographie
901:I Don't See the Problem (2011–2015)
251:Maison Europeene de la Photographie
2636:Muscionico, Daniele (2013-02-18).
1983:Rouges, Lunettes (30 March 2009).
1729:, Sharjah Biennial, Sharjah (2009)
1546:Łaźnia Centre for Contemporary Art
738:, sleeping jumpers and children's
14:
1955:"people - Sharjah Art Foundation"
817:and love confessions made by the
749:This work's strength lies in its
2398:Goodeve, Thyrza Nichols (2012).
2340:"Keith Haring's Life and Legacy"
1417:LUCCA Museum of Contemporary Art
1180:, Winterthur, Switzerland (solo)
1156:, Winterthur, Switzerland (solo)
23:
3016:Stevan, Caroline (2016-02-11).
2258:Pietrasik, Marta (2010-06-22).
2219:Wąsowski, Michał (2017-01-22).
1526:Maison orpheline / Home Forlorn
1212:Zachęta National Gallery of Art
652:I Hate My Body When You're Gone
636:Zachęta Narodowa Galeria Sztuki
2717:"Wojna i ciało - Magazyn O.pl"
385:Academy of Fine Arts in Warsaw
1:
2848:archiwum-obieg.u-jazdowski.pl
2522:archiwum-obieg.u-jazdowski.pl
1723:Sharjah Biennial 9. Guidebook
1207:All Creatures Great and Small
888:, Poland, 2012 (solo) and in
813:. These are the fragments of
50:secondary or tertiary sources
2672:. 2012-11-23. Archived from
2488:"Sharjah Biennial 9. Book 2"
1668:ASEF Conference, Paris Photo
1471:, Zurich, Switzerland with
1000:I'm Not Afraid I Can Help Me
882:BWA Contemporary Art Gallery
784:That You Have Someone (2012)
732:installation in public place
712:This piece was exhibited in
650:
593:an attempt at dehumanization
415:-based themes. Another are:
56:, especially if potentially
34:biography of a living person
3105:Polish installation artists
3100:Polish contemporary artists
3024:(in French). Archived from
2782:"That You Have Someone # 1"
2695:"Agnes Janich: Body Memory"
1654:III National Photo Biennale
1006:Il suffit de passer le pont
269:, Kunsthalle Exnergasse in
54:must be removed immediately
3131:
2753:O.pl Polski Portal Kultury
2721:O.pl Polski Portal Kultury
2017:www.brooklynartproject.com
1828:Malkowska, Monika (2006).
1402:50 Ways To Keep Your Lover
2518:"Liżę i myślę | obieg.pl"
1753:, Ed. Antonia Carver and
1458:Cleanliness is Goodliness
1413:Fragile: Handle with Care
1178:Galerie Wyschür Weierthal
1111:I-doll-atry & Divine,
970:Cleanliness is Goodliness
614:as well as to individual
554:Cleanliness is Goodliness
283:Museum of Jewish Heritage
245:, Galapagos Art Space in
141:
2640:(in Swiss High German).
1487:, presenting Chim (solo)
391:in Photography from the
327:Republic of South Africa
301:Early life and education
1717:3rd Jungkunst Guidebook
1666:Representing Poland at
1663:, Warsaw, Poland (2003)
1652:3rd Place Award in the
1464:, Moscow, Russia (solo)
1359:Auschwitz Jewish Center
1116:, Warsaw, Poland (solo)
458:point of view, showing
344:and likely assimilated
275:Auschwitz Jewish Center
195:http://agnesjanich.com/
1661:People's Faces Contest
1498:Neuchâtel, Switzerland
1375:Kunsthalle Exnergasse,
1315:Vienna, Austria (solo)
1232:, United Arab Emirates
923:
794:
776:
725:Bits and Pieces (2010)
706:
647:, Switzerland (2013).
381:Commercial Photography
310:
48:Please help by adding
2810:Raczek-Karcz, Marta.
2715:Sokołowska, Zuzanna.
2638:"Humanismus reloaded"
1469:Galerie Walter Keller
1450:Fotomuseum Winterthur
1196:Fenstersprung Program
1169:, Zurich, Switzerland
1166:Swiss National Museum
1085:Museum of Photography
870:Galerie Walter Keller
821:Survivors during the
792:
641:Galerie Walter Keller
393:School of Visual Arts
308:
267:Fotomuseum Winterthur
173:School of Visual Arts
3110:Polish women artists
2576:www.charimgalerie.at
2553:(in Austrian German)
1509:with support of the
1106:(group presentation)
1067:Selected exhibitions
964:With Our Eyes Closed
927:Female Favors (2015)
566:United Arab Emirates
377:Fine Art Photography
369:University of Warsaw
281:affiliated with the
263:Bergen Museum of Art
243:United Arab Emirates
2971:www.dwutygodnik.com
1467:2013 Agnes Janich,
1294:Galapagos Art Space
1256:Garden of Innocents
1185:Visual Arts Gallery
1174:Lightning The Night
1123:, ASEF Conference,
1121:Crossing Boundaries
940:List of other works
536:accompanied by the
371:(2003-2004), got a
313:Janich was born in
37:relies too much on
2697:. 23 November 2012
2516:Łagodzka, Dorota.
2371:1995-2015.undo.net
1767:No more bad girls?
1761:No more bad girls?
1435:Bergen Kunstmuseum
1388:No more bad girls?
1371:No more bad girls?
1354:Lighting the Night
1335:Girl on the Corner
1271:Lighting the Night
1187:, New York, NY, US
1183:2008 Mentor Show,
1030:The Sound of Music
988:He Fucked Her Good
958:Lighting the Night
795:
683:concentration camp
514:video installation
373:Degree with Honors
311:
3022:Chambre avec vues
2411:978-3-902675-80-4
2266:. Gazeta Wyborcza
2049:www.fotomuseum.ch
1801:Becoming A Mother
1789:978-83-925733-9-5
1775:978-3-200-01861-7
1706:978-83-85901-91-4
1698:978-3-902675-80-4
1408:., Bergen, Norway
1339:Don't Hurt Myself
1324:Wschodnia Gallery
1320:Bits & Pieces
994:A Real Boy's Show
982:Don't Hurt Myself
772:978-3-902675-80-4
507:Man to Man (2009)
287:Seoul Arts Center
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2883:. Archived from
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2476:
2474:
2473:
2464:. Archived from
2453:
2447:
2446:
2440:
2436:
2434:
2426:
2424:
2423:
2414:. Archived from
2395:
2382:
2381:
2379:
2378:
2363:
2354:
2353:
2351:
2350:
2336:
2330:
2329:
2327:
2326:
2317:. Archived from
2307:
2301:
2300:
2298:
2297:
2286:"Chcę być Żydem"
2281:
2275:
2274:
2272:
2271:
2264:lodz.wyborcza.pl
2255:
2236:
2235:
2233:
2232:
2225:Business Insider
2216:
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2192:
2165:
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2108:
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2084:
2083:
2068:
2059:
2058:
2056:
2055:
2041:
2032:
2031:
2029:
2028:
2019:. Archived from
2009:
2000:
1999:
1997:
1996:
1980:
1969:
1968:
1966:
1965:
1951:
1930:
1929:
1927:
1926:
1912:
1849:
1848:
1846:
1845:
1836:. Archived from
1825:
1781:Era New Horizons
1260:BWA City Gallery
1225:Sharjah Biennial
1215:, Warsaw, Poland
1161:Something Jewish
1087:, Kraków, Poland
1074:Visions of Light
921:
890:MCCA Elektrownia
831:Mauthausen-Gusen
807:cotton rag paper
774:
714:MCCA Elektrownia
704:
703:, September 2012
562:Sharjah Biennial
483:sexual relations
239:Sharjah Biennial
219:installation art
146:
132:
125:
118:
114:
111:
105:
103:
62:
27:
19:
3130:
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3119:
3085:
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3073:
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3029:
3015:
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2999:
2990:
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2976:
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2965:
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2942:agnesjanich.com
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2913:agnesjanich.com
2907:
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2875:
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2823:
2816:agnesjanich.com
2809:
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2795:
2793:
2780:Janich, Agnes.
2779:
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2746:
2735:
2726:
2724:
2714:
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2679:
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2670:agnesjanich.com
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2492:agnesjanich.com
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2462:agnesjanich.com
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2315:agnesjanich.com
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2194:
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2135:
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2124:
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2105:
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2095:
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2081:
2079:
2070:
2069:
2062:
2053:
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2043:
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2026:
2024:
2011:
2010:
2003:
1994:
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1982:
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1972:
1963:
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1933:
1924:
1922:
1914:
1913:
1852:
1843:
1841:
1834:agnesjanich.com
1827:
1826:
1817:
1812:
1682:
1670:, France (2005)
1656:, Poland (2003)
1649:
1616:
1562:
1553:, Poland (solo)
1330:, Poland (solo)
1313:Charim Galerie,
1266:, Poland (solo)
1249:The Netherlands
1081:Home Atmosphere
1069:
942:
930:
922:
919:
904:
787:
775:
761:
728:
705:
697:
656:
550:Bits and Pieces
512:It is an multi-
510:
503:
409:
303:
213:who works with
169:Alma mater
164:
155:
137:
126:
115:
109:
106:
63:
61:
47:
43:primary sources
28:
17:
12:
11:
5:
3128:
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3112:
3107:
3102:
3097:
3087:
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3069:research.ku.dk
3055:
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2929:
2897:
2859:
2832:
2802:
2765:
2733:
2707:
2686:
2657:
2619:
2608:zacheta.art.pl
2592:
2572:"Agnes Janich"
2563:
2533:
2508:
2478:
2456:Good, Oliver.
2448:
2439:|website=
2410:
2383:
2355:
2331:
2302:
2276:
2237:
2211:
2200:www.artnet.com
2166:
2142:
2112:
2088:
2060:
2033:
2001:
1970:
1959:sharjahart.org
1931:
1916:"Agnes Janich"
1850:
1814:
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1798:
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1688:Agnes Janich.
1681:
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1569:
1566:
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1558:
1555:
1554:
1541:See / Sky High
1537:
1522:
1511:Sky Foundation
1503:The Way to You
1499:
1488:
1465:
1462:Proekt Fabrika
1454:
1445:
1427:
1409:
1398:
1397:Bergen, Norway
1384:
1367:
1350:
1349:, Italy (solo)
1331:
1316:
1305:
1286:
1267:
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1233:
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1203:
1188:
1181:
1170:
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1154:Villa Straeuli
1146:
1127:
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1107:
1088:
1077:
1068:
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1063:
1057:
1051:
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1033:
1027:
1021:
1018:2 minutes late
1015:
1009:
1003:
997:
991:
985:
979:
976:My Mom's Diary
973:
967:
961:
955:
949:
941:
938:
929:
924:
917:
903:
898:
829:of Auschwitz,
786:
781:
759:
727:
722:
695:
655:
649:
623:Galerie Charim
585:claustrophobic
580:-like cages".
509:
504:
502:
501:Selected works
499:
446:as opposed to
408:
405:
302:
299:
198:
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69:"Agnes Janich"
31:
29:
22:
15:
13:
10:
9:
6:
4:
3:
2:
3127:
3116:
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3108:
3106:
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3101:
3098:
3096:
3095:Living people
3093:
3092:
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3070:
3066:
3059:
3056:
3048:
3042:
3039:
3028:on 2019-01-30
3027:
3023:
3019:
3012:
3009:
2997:
2993:
2987:
2984:
2972:
2968:
2962:
2959:
2948:on 2019-01-29
2947:
2943:
2939:
2933:
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2919:on 2019-01-30
2918:
2914:
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2902:
2898:
2887:on 2019-01-29
2886:
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2860:
2849:
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2839:
2837:
2833:
2822:on 2019-01-30
2821:
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2813:
2806:
2803:
2792:on 2019-01-29
2791:
2787:
2786:ArtAndCollect
2783:
2776:
2774:
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2770:
2766:
2754:
2750:
2744:
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2734:
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2718:
2711:
2708:
2696:
2690:
2687:
2676:on 2019-01-30
2675:
2671:
2667:
2666:"SummerhalTV"
2661:
2658:
2647:
2643:
2639:
2632:
2630:
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2609:
2605:
2599:
2597:
2593:
2582:on 2019-11-14
2581:
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2534:
2523:
2519:
2512:
2509:
2498:on 2019-01-30
2497:
2493:
2489:
2482:
2479:
2468:on 2019-01-30
2467:
2463:
2459:
2452:
2449:
2444:
2432:
2418:on 2019-01-30
2417:
2413:
2407:
2403:
2402:
2394:
2392:
2390:
2388:
2384:
2372:
2368:
2362:
2360:
2356:
2345:
2344:The Art Story
2341:
2335:
2332:
2321:on 2019-01-30
2320:
2316:
2312:
2306:
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2119:
2117:
2113:
2102:
2098:
2092:
2089:
2077:
2073:
2067:
2065:
2061:
2050:
2046:
2040:
2038:
2034:
2023:on 2019-01-30
2022:
2018:
2014:
2013:"Culture411A"
2008:
2006:
2002:
1990:
1986:
1979:
1977:
1975:
1971:
1960:
1956:
1950:
1948:
1946:
1944:
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1932:
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1873:
1871:
1869:
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1863:
1861:
1859:
1857:
1855:
1851:
1840:on 2019-01-30
1839:
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1713:
1712:Featured in:
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1492:Papier, bitte
1489:
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1478:
1474:
1473:Clair Galerie
1470:
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1463:
1459:
1455:
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1264:Bielsko-Biała
1261:
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1246:
1242:
1238:
1234:
1231:
1227:
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1221:
1217:
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1208:
1204:
1202:, Switzerland
1201:
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839:Bergen Belsen
836:
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824:
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816:
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808:
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800:
791:
785:
782:
780:
773:
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723:
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710:
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694:
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671:autoagression
668:
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619:
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531:
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331:multicultural
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183:Occupation(s)
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177:New York City
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71: –
70:
66:
65:Find sources:
59:
55:
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45:
44:
40:
35:
30:
26:
21:
20:
16:Visual artist
3072:. Retrieved
3068:
3058:
3041:
3030:. Retrieved
3026:the original
3021:
3011:
3000:. Retrieved
2995:
2986:
2975:. Retrieved
2970:
2961:
2950:. Retrieved
2946:the original
2941:
2932:
2921:. Retrieved
2917:the original
2912:
2889:. Retrieved
2885:the original
2880:
2851:. Retrieved
2847:
2824:. Retrieved
2820:the original
2815:
2805:
2794:. Retrieved
2790:the original
2785:
2757:. Retrieved
2752:
2725:. Retrieved
2720:
2710:
2699:. Retrieved
2689:
2678:. Retrieved
2674:the original
2669:
2660:
2649:. Retrieved
2611:. Retrieved
2607:
2584:. Retrieved
2580:the original
2575:
2566:
2555:. Retrieved
2551:DER STANDARD
2550:
2525:. Retrieved
2521:
2511:
2500:. Retrieved
2496:the original
2491:
2481:
2470:. Retrieved
2466:the original
2461:
2451:
2420:. Retrieved
2416:the original
2400:
2375:. Retrieved
2373:(in Italian)
2370:
2347:. Retrieved
2343:
2334:
2323:. Retrieved
2319:the original
2314:
2305:
2294:. Retrieved
2289:
2279:
2268:. Retrieved
2263:
2229:. Retrieved
2224:
2214:
2203:. Retrieved
2199:
2158:. Retrieved
2154:
2145:
2134:. Retrieved
2129:
2104:. Retrieved
2100:
2091:
2080:. Retrieved
2075:
2052:. Retrieved
2048:
2025:. Retrieved
2021:the original
2016:
1993:. Retrieved
1988:
1962:. Retrieved
1958:
1923:. Retrieved
1919:
1842:. Retrieved
1838:the original
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1780:
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1716:
1711:
1689:
1684:Monography:
1683:
1680:Publications
1676:
1667:
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1659:Finalist of
1653:
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