OAXACA.- "PRAY", composed of installation and sculpture, is being shown at the Rufino Tamayo room of the Museum of Oaxacan Painters through the end of 2021. The grand room is embodied by an immersive installation, created of over 100,000 individually balanced gold nails.
Franz Klainsek's practice is a byproduct of his continuous philosophical exploration. Large-scale sculptures and installations often include references to freedom and the search for truth in today’s complex society. Franz Klainsek's art brings awareness to issues of suffering, offering the viewer a possible solution, in his words, to “Live in Truth. Rest In Freedom.”
By working on a large scale, the artist creates physically and mentally demanding pieces with full body and mind dedication. Franz’s work pushes the boundaries between space, art, and human interaction.
His artwork often straddles the line between object and performance. Franz presents themes of human evolution while exploring the relationship of matter, perception, movement, and the mind.
The conceptual work lives in transformation. PRAY at MUPO and many of his exhibitions present transformed spaces of site-specific installations of immersive art, interactive work, sculptures, paintings, and performance.
Here is his statement:
"We were programmed to pray to an outside source. But what about a prayer to ourselves? A prayer to our Being? To where we’ve been, where we are, where we are going - to our journey?
A prayer to respect and honor ourselves. The road we have traveled. The miles we have walked. The lessons we’ve earned. However light or dark, the truth is we are magnificent. And deserve to be pedestalled as a champion of champions.
With every nail, I honor myself. I honor all those brothers and sisters who walk with me. I honor spiritual healers and men of enlightenment -- such as Jesus. And I honor women of enlightenment- such as Mother Teresa. We are all worthy of honor. We are not to be penalized for past faults, but rewarded for our courage to move forward; with greater resolve, and a firmer step than yesterday. My mantra with each nail is: I will do better, I will be better and I will learn to accept and face my challenges with an open heart. I will remain connected with my fellow brothers and sisters with empathy and strength to live moment to moment as we continue to carve our individual evolution. All in all, our only duty is to evolve.
As individuals, I believe we must define prayer on our own, define faith on our own. Our journey to this point, with all its ups downs, struggles, hardships, and victories, the truest testament is that we are here in the now; that we have survived is enough reason to have faith. We are strong beyond words. Both consciously, and more often than not - subconsciously. Finding faith in the present moment is the most powerful weapon of all. An act of communication between what I perceive myself to be and what my deepest truth may reveal.
I place a nail in a prayer to intention, a prayer to live a romanticized life, committed to creating from the self-empowering, endlessly courageous, and evolutionary state of balance. Creating from moment to moment in an intention-driven life. A life broken into millions of prayers. This final nail - a prayer to my being and to my life."
The building that houses the Museum of Oaxacan Painters was built in the seventeenth century (1686), with sober architecture, built with colonial-style green quarry. It was built under the initiative of the priest Don Juan Gómez de Tapia, priest of Tututepec, and the Portuguese philanthropist Don Manuel Fernández Fiallo, who donated a large amount of money to carry out this work, whose purpose was to educate Oaxacan girls. Under the auspices of Bishop Don Isidro Sariñana, in the year 1686, it was inaugurated as a Girls' School under the name of "Maidens of Our Lady of Presentation". Later, by the Reform laws, the College was closed and expropriated, ceasing to function in 1860; Already in the period, the Government of Don Porfirio Díaz reopened its doors in 1866.
During the 20th century, the house was a Museum of Anthropology and History, it was even the first headquarters where the jewels from tomb 7 of Monte Albán were exhibited for the first time. it was also the Regional State Museum until 1986; later it was occupied by the City Council until 1992; from 1993 to 2003 it housed the facilities of the Secretary of State Tourism.
In 2003, on the part of the State Government, the idea arose to enable a museum that would house the visual arts of the great Oaxacan artists, including artists from the 16th century to the present day, in an emblematic building for its history and its location. Therefore, to house the facilities of the Museum of Oaxacan Painters (MUPO), it was created in its beginnings to offer a space open to the contemporary development of plastic and graphic arts in the entity, offering exhibitions that promote and disseminate the work of Oaxacan and International artists and create a critical and inclusive forum for the different ways of making and appreciating art. The objectives of this museum are the promotion of audio-visual work and Oaxacan artists, as well as with different currents of the arts in Mexico. It defines its vocation as a cultural center open to all artistic manifestations, hosting not only exhibitions but also concerts, readings, conferences, presentations, social events, and workshops. Building bridges between museums, artists, gallery owners, collectors, and spectators. Promote the city, its culture, and international art.
