Selected Works

Cleaning the Pool

In Cleaning the Pool (2016), I am removing snow from an abandoned swimming pool in the northern Italian Alps. The lines created are only visible from the zenith perspective, where the edges of the pool frame the scenario. [...] the ephemeral painting is driven by movement, a process of creation through removal. My thoughts on the work: For me, the work is about place, locality and perspective. The lines created are reminiscent of a gestural painting,

which was only visible from the zenith perspective. The edges of the swimming pool become the frame of an ephemeral painting. The body movement, a performative act, becomes important to the work, the center of attention, by making the process of creating something by removing visible.

Obscura (Yellow)

Oil, Pastell, Wax on MDF Plate
2,00 x 5,00 m

The work exhibited here in Afgang demonstrates the effect of time through a painterly language: layering. Indeed, Jonas approaches the canvas like a filmmaker, constructing images that evolve through time - moments unfolding, dissolving, then transforming. Across the painting we see a constant negotiation between levity and heaviness, indicating the evolution of the subjects he seeks to depict.

Drawing inspiration from cinema, fossils, and the history of fresco painting, this artwork contains images that emerge and recede. Jonas is particularly interested in how mass imagery, from historical archives to private photographs, shape our understanding of the world. Some areas of his paintings contain printed elements, while others remain fluid and gestural, creating a dialogue between mechanical reproduction and the hand’s fluidity.

Relics for a Possible Future

Inspired by the expressiveness of the paintings and frescoes of historical Italian masters and fascinated by the role they played in the world view of the people of that time, I began the series of works Relicts for a Possible Future. Particularly the effect of weathered frescoes as a viewer and the realization that everything that surrounds us is subject to a process of decay and thus only remains as a fragment for future generations became the basis for the work. In search of a similarly functioning dogma in our time, collages were created from collected contemporary newspaper and online media images, which were then transferred on wooden panels and canvases.

Lexion (Dissolvable)

Variable Dimensions
Soap, Metal

Playground, 2022

Inkjet on billboard paper, 500 x 950 cm

Exhibitions

Willi The Cat

WILLI the Cat is an exhibition that explores some of the possible relationships that exist between humans and animals, men and buildings, living creatures and places, life and unanimated objects. From psychology to politics, from the voices heard by schizophrenics to the removal of the animal that lives inside of us and from outside, presses itself against a window to get inside, from the “barbarians” to the nomad and to the migrants, WILLI is a platform that develops by expanding some of the tastes of the idea of threshold, refuge, and dwelling, crossing from one perceptive state to another.

Architecture moulds our consciousness before we realize it, space commands with subtle imperative ways, but cats are phlegmatic, and teach us how to reject limits with elegance. WILLI is a sensorial environment, a spatial and perceptual experience that displays some artworks of students of t he Free University of Bolzano together with others from Antonio Dalle Nogare’s private collection, interwoven in a subliminal feeling.

WILLI is orchestrated by Massimo Bartolini and Luca Trevisani, with artworks by Allora & Calzadilla, Vincenzo Ag netti, Annika Althoff, Carl Andre, Charles Atlas, Filippo Contatore, Sara Cortesi, Chiara Duchi, Adriana Ghimp, Dan Graham, Jonas Kolecki, Richard Long, Gordon Matta-Clark, Lilian Polosek, Irene Rainer, Gregor Schneider, Andreas Slominski, Michael Ungerer, Italo Zuffi.

I did not See it Coming

I Did Not See It Coming - Lothringer 13 Halle · February 17 – March 6, 2022

Where does violence begin? Unequal treatment, noise, militarized borders, fake news, colonialism, deportation, police brutality, exclusion, sexualized assault, slavery, hate speech, exploitation, property damage—how do we define violence in our daily lives? Marking the 50th anniversary of the 1972 Munich Olympic attack, the project serves as an aesthetic and political reflection on violence in various forms.

Program: Lectures with Daniel Loick, Theo Deutinger, Luise Schröder, Pedro Oliveira, Eva Leitolf, and German Duarte, Reading Sessions on violence in text, Kino Club: film screenings and discussions

Publication:
Designed by Maximilian Schachtner, to be presented at the finissage on March 6, 2022.

Conceived and curated by:
Simona Andrioletti, Jakob Braito, Jonas Höschl, Martin Huber, Jonas Kolecki, Mariella Maier, Maria Margolina, Juliana Nozomi, Andrea Veselá, Mathias Zausinger

Supported by:
Julia Maier, Olaf Nicolai, and the team of Lothringer 13 Halle
Conceived and curated by: Simona Andrioletti, Jakob Braito, Jonas Höschl, Martin Huber, Jonas Kolecki, Mariella Maier, Maria Margolina, Juliana Nozomi, Andrea Veselá, Mathias Zausinger. Supported by: Julia Maier and Olaf Nicolai, and the team of Lothringer 13 Halle

PhotographyLuciano Pecoits

Simona Andrioletti, Jakob Braito, Greta Eimulyté, Nadine Felden, Ophelia Flassig, Jonas Höschl, Martin Huber, Ju Young Kim, Jonas Kolecki, Paul Kulscar, Mariella Maier, Maria Margolina, Juliana Nozomi, Riccardo Rudi, Marie Saller, Maximilian Schachtner, Andrea Veselá, Yuanmo Wang, Mathias Zausinger

Jonas Kolecki is a filmmaker, painter, and collagist whose multidisciplinary practice centers on time as both a tool and a subject. His work explores themes of ephemerality, decay, and the human impact on landscapes—physical and conceptual alike. Through site-specific and context-sensitive approaches, he creates projects across painting, film, performance, and collaboration that investigate the traces and transformations left by human presence. (Mariam Elnozahy – Artistic Director, Konsthall C Stockholm)

Besides personal projects, he runs “The Filmmaking Journey,” a non profit filmmaking workshop with 500 + participants worldwide and is active as a film & media producer.

Education

2025: MFA, Royal Danish Academy of Fine Arts, Copenhagen — Class of Peter Wächtler
2026: Diploma, Academy of Fine Arts Munich — Class of Olaf Nicolai
2025: Archive // HIERARCHIES Program, led by Dora Budor
2024: CPH:DOX Academy, Copenhagen
2023: Architecture & Art, Veit Laurent Kurz, Copenhagen
2016 – 2020: BFA in New Media Arts, Free University of Bolzano
Additional workshops with Otobong Nkanga, Beate Gütschow, Monica Bonvicini