jsf

Olivier Grasser - "Ellipse in Your Eyes"

JAN KOPP, DAS ENDLOSE SPIEL - LE JEU SANS FIN - Editions Verlag für moderne Kunst Nürnberg, 2010

Jan Kopp belongs to a generation of artists brought up on the ideals of modernity but producing works seemingly bent on taking up the challenge by adjusting it to suit a globalized, standardized reality. He, by contrast, is building an oeuvre that focuses on the place of the human, embodied either as social individual or as a being in the universe.

jsf

Katharina Schlieben, A Conversation with Jan Kopp - "The constant necessity to de-specialize"

JAN KOPP, DAS ENDLOSE SPIEL - LE JEU SANS FIN - Editions Verlag für moderne Kunst Nürnberg, 2010

This also applies to the fragmentary in my working process. There is something like a working hypothesis that one tries to deploy. This deployment process always includes forms of an exchange of competences and an interplay of different knowledge. The exciting thing for me is when you begin in an art context and then break out of it without having intentionally sought transdisciplinarity. Perhaps the definition of art innately includes the transdisciplinary per se. To me, art is fundamentally a subject that is not bound to a medium. It has no specialization: it is medium-free. 


jsf

Marc Wellmann - "The Endless Game" enframed

JAN KOPP, DAS ENDLOSE SPIEL - LE JEU SANS FIN - Editions Verlag für moderne Kunst Nürnberg, 2010

Jan Kopp's installation The Endless Game is an intricate, cryptically kinetic configuration, whose formal elements are immediately accessible. Eleven slowly swinging pendulums of matte-polished brass hang above a white, elliptically shaped floor space and plough through a loosely scattered cloud of motley colored  glass marbles. The swinging planes of the pendulum do not run parallel, but the conformity of the movements are quickly recognizable. Like a group of metronomes hung upside down, they strike the same beat and, under the pendulum's swing, measure out equally long lines. The around 3500 variously-sized marbles are randomly scattered over the. in comparison. giant white ellipse. which almost unnoticeably rises at the edge so as to keep the cluster of spheres artfully in place.


rapolder-couv

 Carole Boulbès - "We Are Not Specialists"

JAN KOPP - TECHNIQUES RAPPOLDER - Isthme éditions, Paris, 2005 (pp. 29-35)


...What is up is not down. What is beautiful is not ugly, surely this is true! Much of Jan Kopp's work takes note of these dichotomies (constructed/deconstructed, orderly/chaotic, necessary/contingent) and uses them to question the bivalence of these concepts. His works confront non-sense. It revolts against a philosophical heads or tails, it challenges the back and the front of things in order to confront language with words and gestures...

 

rapolder-couv

Annie Claustres - " "Changing {for} a minute" or the time or hybridization"

JAN KOPP - TECHNIQUES RAPPOLDER - Isthme éditions, Paris, 2005 (pp. 67-70)


...Deploying adolescents who embody the age when identity is still in fact undetermined, but also the age of representation - the age when we construct our image by self-representation - reinforces the dimension of Jan Kopp's project correlating to hybridity. It is again a question of assessing the dimensions of a certain possible shift, a potential extension, in our grasp of identity...

rapolder-couv

Jacinto Lageira - "The Metamorphoses of the art of speaking (well)"

JAN KOPP - TECHNIQUES RAPPOLDER - Isthme éditions, Paris, 2005 (pp. 97-103)


...he led a dance class by communicating in a language of his own invention, a language which was as incomprehensible to himself as to the participants, and yet he was able to make himself understood; all the more astonishing, given the fact that he is no dancer, and certainly no teacher of dance. But "it works", as can be seen in the documentary Sannectamock . One wonders at the unsuspected possibilities of translation, or the unction of tongues of fire...


Henry Bangor - "Glassbox (translated by Christopher Martin)"

in FLASH ART (#205)


...The work of Jan Kopp appears to be firmly anchored in our present, introducing as it does subtle disjunctions and minute shifts that play on reality. While it is often the result of an insightful study of the world around us, Kopp's work is quite capable of calling on the direct involvement of the visitor to the gallery, whether by surprise or offering a chance to partake in the work as it comes to life...

Stephen Todd - Glassbox

ART/TEXT (#64)


 

...An obliquely autobiographical soundtrackconversations in his Paris apartment (where does this guy live? it's so noisy), music, alarm clocks, speeches, someone on the street of Beirut asking for a cigarette-the oldest bits date from four years ago, the most recent from two days before [he show's opening. All the samples are haphazardly reassembled to create an aural landscape that is at once poignant and empowering. It's hard to resist leaping from panel to panel, merrily re-orchestrating the minutiae of the artist's life...