ZAHORIAN & VAN ESPEN, Bratislava / Prague
Lucia Sceranková: My recent work revolves mainly around the exploration of the photographic image and its relationship to 3D space. Illusion, fiction and myth are the themes which are attractive for me in my practice. I am interested in the relationship to perceived, experienced and imagined reality. I often utilize images which are archetypal representation of certain themes or meanings and which seemingly don’t leave much space for alternative interpretations. I build stages for them and present them with new roles. I give them new freedom based on subjective perception. A certain movement comes forth from this play, a shift between the dimension of a collective myth and personal mythology.
According to Roland Barthes, photography is neither an image nor reality. It is completely new entity, reality that can not be touched. Crucial moment of my work is dealing with 3D space within photography. The final outcomes are usually 2D prints, but in fact they comprehend constructed 3D space — new reality that can not be touched.
Formally the outcomes are imaginary landscapes which are usually home to handmade analogue special effects without any use of digital manipulation. I am attracted to the research of this active physical approach to photography, to deal with the relation between photography and spaciousness. I am interested in strategy of using several approaches and techniques, putting the results in mutual relationships. Analysis of medium is present but it is not main aim of my research. I am attracted to possibility.
Viktorie Langer is suspicious, perhaps even anxiously so, of contemporary artistic trends, and her relationship to the craft in her work can thus seem romantically uncritical. She believes that the subject, with its imaginative potential, can change the values of society more than the calculated strategies of which we are the victims in our economic and political system. To imitate these systems in art makes no sense to her. Art has a certain autonomy; it involves not just our system of rational thought, but above all, our subconscious processes and senses, and knows other ways to have an effect. It is thus no coincidence that she shares some of her formal foundations with Artificialism and Poetism, more with the works of Jindřich Štýrský than Karel Teige – and their conflict between the avant-garde and autonomous conceptions of art perhaps have a distant echo in Langer. The elements of Lyrical Abstraction, whose chewed-up forms remain in the memories of an older generation of Czechs from the tapestries and ceramic walls of socialist realist public buildings, here do not allow any inspiration that is uncritical or sentimental. Her relationship to the public sphere is underscored by numerous references to graffiti and British grime music.
This kneading of various approaches, movements, times, and styles; of forms and symbols; the fragile and the raw; the lyrical and the crude; the abstract and the self-evident; and lines and areas is significantly bolstered by her experimentation with technologies and materials. Even in her approach to painting, Langer proceeds primarily from the medium of collage. Recently, Larger has been working for a long period of time on an extensive cycle – or rather, cycles – of textile images created from exploiting more and more possibilities of tie-dye (…)
Jaroslav Kyša: In my work I endeavor to reflect contemporary society and confront a viewer with constantly changing presence and our insecure future. Through use of laws of physics and nature in my multimedia works, I contemplate upon humanity and its geopolitical issues. Thanks to magnetism, electrical mechanisms and software, I disrupt functioning of gravity and perception of time. I bring attention to “fault” in reality and its understanding. By corruption of basic human beliefs and knowledges about physical principles, I encourage questioning of general certitudes. I investigate into both conceptual and material essence of works created, which results in interaction of a viewer with the work. A viewer thus becomes a part of “fault” in reality.