My Mom’s Diary #1 – #11

Agnes Janich

Detailed information of ArtWork

Agnes Janich

My Mom’s Diary #1 – #11

Archival inkjet print on Epson fine art paper, framed in pine frames and annealed (flat) glass

10 x 15 cm / 4 x 6 in each of the 11 works, sold as a series of 11

From the artist's studio.

•No more bad girls?, Stiftelsen 3,14 Art Foundation, Bergen, NO, 2010 (group, with catalog) •No more bad girls?, Kusthalle Exnergasse, Vienna, AT, 2010 (group, with catalog) •Hommage a Cantor, Program Gallery, Warsaw, PL, 2010 (group)

• Becoming A Mother, exhibition catalog, Ed. Ana Vilenica, Belgrade, RS, 2012 • A friendship with an artist can be costly for an entrepreneur. Here’s how it’s worth it. An interview with Agnes Janich by Michał Wąsowski, Business Insider Poland, 2017 • Agnes Janich, Marta Raczek-Karcz, PhD,, 2016 • Productive risk: Ethinicity and Gender as Contingent Categories, Claudia Marion Stemberger, PhD,in: No more bad girls?, ed.Claudia Marion Stemberger, PhD, Kathrin Becker, PhD, Vienna, 2010 • Melons under it and straps over it, Der Standard, April 28th 2010 • Bad girls? Bad girls!, Almuth Spiegler, Die Presse, May 20th 2010 • Kunsthalle Exnergasse outlines current feminist questions with No More Bad Girls?, Mag. Hans-Christian Heintschel, OTS, May 7th 2010

• "My Mom's Diary, accommodated in eleven simple pine frames, is a collection of family snapshots of a child with comments written on them. The child is herself, and the comments (A warm little body to make my loneliness go away) critically examine the mother-daughter relationship. It's a work about a family and a woman looking for herself elsewhere. "[Kunsthalle Exnergasse outlines current feminist questions with No More Bad Girls?, Mag. Hans-Christian Heintschel, OTS, 7.05.2010]
• In her series of small format photographs, My Mom's Diary (…) the artist thwarts the current neoconservative relapse of Eastern European societies into traditional role models and stages the relation of mother and daughter as a cross between fetish and rival; she achieves this by placing herself in the picture instead of the mother figure. [Claudia Marion Stemberger, Productive Risk: Ethnicity and Gender as Contingent Categories, in: No more bad girls? (exhibition catalogue), edited by Claudia Marion Stemberger and Kathrin Becker, Vienna, 2010, pp. 7-15, p. 11-12.] The texts on the images read: A by-product of my fear of abortion. A rival. A defence against my fear of being forgotten. A thank-you for my parents. Someone who'll always come to ME. A warm little body to make my loneliness go away. A proof that a family doesn't mean giving myself up. A doll to show at corporate parties. A way to stay young. Someone I never hug.

1 of 5

Signed and dated on the verso



Genève Switzerland

Rue Henri-Blanvalet, Geneva, Switzerland