Benjamin Kreže is an artist that explores the fields of painting, photography, new media installations, kinetic sculptures and film. He is drawn to ancient inventions and the combination of them in new media art. All thou he works in many different medias Benjamin’s work always questions the observer, to think of their self awareness in this world. From micro to macro he plays with different media tools to constantly change the perception of the viewer, and displacing them in time and space. His work is often indirect and humorous.
From 2009 he has been an active member in the multimedia group Laibach.
The author had over 20 solo exhibitions at home and abroad and participated in 30 different group projects.
Ali Bramwell wrote on Benjamin Kreze:
“Something of an inventor himself Kreze has developed a form of kinetic figurative sculpture, three-dimensional Zoetrope where the illusion of movement is created by the quick succession of static forms in rotation, creating the impression of holographic images. To date he has made three increasingly large scale works in this impressively well engineered series; Abakus1 (2009) the prototype, which was shown at the first Speculum Atrium (S.A. 09), Magus Rotarum (2010) , and Ubermensch (2011), the latter two of which were both shown at Kapelica Gallery in Ljubljana.
These earlier large scale and technically challenging projects show the tactical use of micro scale of as even more of an introverted contemplative contrast, if only in the radical change of scale speed and volume (as in literal noise, the kinetic sculptures are loud, visually percussive and frenetically enveloping experiences). What is present in all of the projects noted here is a sense of industry, the epic labor commitment involved in the making of these sculptures is amoung the first strong impressions. It occurs to me to wonder if that embedded engagement with labor is an artistic magnification or reflection of an existing Trbovlje zeitgeist, in the shadow three parallel and inseparable monuments; the influence of the industrial character of the town, the historic and continuing strong virtuous attachment to the person of the Worker and attendant philosophical attachments to the value of work, or indeed the influence of Trbovljes art ‘fathers’: Laibach. It should be no surprise whatever that Kreže has a history of artistic collaboration with Laibach.”