SODA gallery, Bratislava
Lucia Tallová (1985) has been one of the prominent personalities of the Slovak art scene for several years. Her work is known for its painting specialty, a characteristic subject of sentimental landscape, monochrome colour and precise painting technique. The Second Archive follows on from the previous exhibition projects Before the beginning, after the end, the Archive of Fictional Memories and the House On The Clifftop, where the author connects the classic medium of painting with spatial installations, objects, collages, photographs, creating both a thoughtful and a material connection between the elaborated themes and techniques. Increasingly, it moves into space, and when the painting remains ubiquitous and still dominant, the places abstain in an intuitive gesture. Lucia Tallová (1985) quickly became one of the most distinguished Slovaks art scene. After graduating from the Secondary School of Applied Art , in the studio held by Jozef Vydra in Bratislava, Tallová graduated from a master's degree course at the painter's studio, held by prof. Ivan Csudai, acad. artist at the Academy of Fine Arts in Bratislava (2005-2011). She has been awarded the Strabag Artaward International 2010, Painting of the Year of the VUB 2013 Foundation and is a prize laureate of the Tatra Bank Foundation Award for Art 2016. She regularly exhibits at home and abroad (Prague, Bratislava, Vienna, Budapest, Hong Kong, Brussels, Paris, Amsterdam). Collections Slovak National Gallery, Strabag Kunstforum, WAP space Soeul, …etc. Last exhibition in The Hague with Katharina Grosse, Rose Wylie, Rosemarie Trockel...
Julius Koller belongs to a generation of artists who, in the course of the sixties tried to overcome the consequences of long-standing cultural isolation, caused by the war and the subsequent period of the socialist experiment , in order to incorporate art into our current European context . In the morning Kollerová making crosses suggestions neo-Dadaism, Pop Art , visual poetry and group tendencies — “new realism” and Fluxus. Given the future is the most important spirit of Dadaism total, “the spirit of ownership” when “the whole world is available if making has been transformed into a work of art,” says Ben Vautier. This principle of ownership, as appropriate all the subject of artistic creation, where “art is everything, including the blue” (Vautier), the artist of the world aside and named, this principle leads inevitably to a “non-art” creativity dispersed anonymous in everyday life. Such thoughts were for Koller and many artists of his generation in Slovakia (Alex Mlynárčik, Stano Filko, Peter Bartos, Vladimir Popovich) obviously attractive and rewarding for their artistic development, especially in the Koller case, decisive. in any event, constitute indispensable background, onto which the realities of our cultural background and individual copyright disposition.
Stano Filko began his artistic practice as a critique of modernist painting, appropriating maps as ready-made canvases and created work influenced by Concrete and Constructivist artists in the mid-1960s. His intricate visual systems created diagrams from everyday objects that were rich in symbolic meaning.
Filko was included in the 1968 exhibition Nová citlivost [New Sensibility], which was a key, large-scale public exhibition of neo-constructivist work in Czechoslovakia that took place around the time of the Prague Spring (a short-lived period of reform during the spring of 1968). Nová citlivost was first presented in Brno, Karlovy Vary, and then at the Mánes gallery in Prague during the period of normalization that followed the August 1968 Soviet suppression of the Prague Spring. Following this period, strict censorship laws were implemented, resulting in the widespread repression of art and development of underground art movements throughout the 1970s. Filko's piece in Nová citlivost, titled A Room of Love (1965–66), presented relationships between objects and their users. The installation with a mirrored floor supported two beds, each covered with sheets bearing a Latin cross. An inflatable mattress covered one of the beds and a girl sat on the other.
In his later series of conceptual statements, Asociácie [Association] (1968–69), Filko's interest in transcendental philosophy, cosmology, and metaphysics—which could be seen as a response to the Leninist material ideology—was evident in his offset prints that mapped symbolic images and words. Many works in Association resemble calligrams—for example, one work parsed the linguistic relationship between the words "universe", "earth", "fire", "water", and "air" by organizing each word within a diagram written in Czech, German, Spanish, French, and Latin.
Filko was also a key figure in Slovak Actionism. In 1965, he wrote "Manifesto of 'HAPPSOC' (Theory of Anonymity)" with theoretician Zita Kostrová and fellow artist Alex Mlynárčik—who was in dialogue with the Paris-based Nouveau Réalisme group. The tongue-in-cheek name was short for "happy society", or "happening" and "society", or "happy socialism". The HAPPSOC group questioned the status of artistic practice as autonomous and created work that intervened in everyday life. The manifesto showed the writers' openness to perceiving reality as a work of art, declaring all of Bratislava as a Happening from 2-8 May 1965, in HAPPSOC 1.
Jaro Varga (b. 1982) is a commentator on creation and destruction. He enjoys seeking out subtle details of what is lost, and systematically looks after what is just being born. Varga explores more than just one field of study. His range of interest encompasses geopolitical topography, the production and archiving of knowledge, social faux pas, and forgotten moments in history. He illustrates the various interconnections between the objects, moments, situations, or places that he finds or consciously seeks out by working with both their form and content.
Varga lives and works as an artist and curator in Prague and has a PhD in visual arts. He exhibited at The 8th Floor Gallery in New York (2016), Prague Biennale 6 (2013), National Museum of Modern and Contemporary Art in Seoul (2013), Grazer Kunstverein in Graz (2011), Vienna Secession (2010), etc. In 2018 he designed a site specific installation for Sonia Rykiel 50th anniversary.
For more than a decade, Marek Kvetán has been a significant part of Slovak art scene. Since the end of the 1990‘s, he is dedicated to making objects, installations, videos or computer prints, and he is known for his consistent conceptual gesture – creating “strong metaphors” and thought shortcuts that (mainly in his spatial work) often express a sarcastic view of the society, religion, poli- tics or media, or even question the traditional perception of the artistic disciplines (for instance painting) as such. Mainly in the creation of objects and installations that are the bearing part of his work, Marek Kvetán becomes the local representative of neo-conceptual art – one of the most common trends in the contemporary world art which fills the white cube-type galleries around the Euro-American world of institutions. Equally, he does not stay behind the themes that are reflected internationally – he mainly concentrates on the social undertones of functioning within today‘s society, points of view through the raster of the political perception of reality or uncovering real and fictional values of different authorities of the material world. Most often with the help of a small intervention he dedicates himself to simple realizations in the public space and the reflection of the gallery and arts operati- on itself. During the last years, Kvetán inclines to minimizing the execution of his objects or installations through the reduction of the eloquence of the content of the works he makes. Collection Deutsche telekom, MOCAK, Slovak National Gallery.