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Born in Romania in 1946, Peter Krausz graduated from the Bucharest Academy of Fine Arts in 1969. Since 1970, he has lived and worked in Montreal where he was the curator of the Saidye Bronfman Centre from 1980 to 1991. Today he is a tenured professor of art at the University of Montreal. Peter Krausz has exhibited in Canada, United-States and Europe. His work is part of prestigious museum collections as well as corporate and private collections.
(NO) MAN’S LAND
The concept of borders, frontiers that sometimes follow natural geographical features but often are imposed arbitrarily and many times brutally on nature, landscape and human beings, constitutes for me a long standing preoccupation as well as a visual source. This theme is also related to my interest in the relation between man and nature in the Mediterranean landscape, as explored in many series realized over the past twenty years ( Landscape and Memory, De Natura Humana, The Song of the Earth, etc… )
This project started three years ago in Cyprus and as the spelling suggests, the title embodies two readings:
“Man’s Land” refers to the seemingly harmonious dialogue mankind and nature established, season after season, for thousands of years, on this “island of love and beauty”, birthplace of Aphrodite.
“No Man’s Land”, the second part of this project, refers to the “Nekri Zoni”, the “Dead Zone” that runs across the landscape from one end of the island to the other, dividing the Greek Cypriot and Turkish Cypriot communities.
This exhibition comprises eight «secco» paintings under the title Aphrodite’s Island facing the eleven oil and tar paintings with the title Nekri Zoni. A catalogue with texts by Horia Avram and Florence Chantoury-Lacombe accompanies the exhibition. A limited edition of the catalogue includes a DVD of the documentary movie Peter Krausz – (No) Man’s Land, directed and produced by Doïna Harap
“Peter Krausz’s art is a mirror held up to the sumptuousness of nature. Through his unremitting effort and his ability to combine a broad range of skills and knowledge, the artist has created a work that is, paradoxically, both comforting and disconcerting.
Krausz’s current painting, with its traditional techniques and aesthetics, may seem far removed from the questions raised by contemporary art, the insight he has developed is solidly based within the context of art today. His works touch historical, political, sociological and cultural concerns, and could even be associated with a sort of meditative act, when one considers the sublimating quality of his work from the past 10 years.”