MONIKA PAVLECHOVÁ WORKS

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selected works 2009 — 2011 MONIKA PAVLECHOVÁ MP_sw_2009_2011.indd 1 22. 1. 2012 22:51:17

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MONIKA PAVLECHOVÁ WORKS Selection

Transcript of MONIKA PAVLECHOVÁ WORKS

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selected works 2009 — 2011

MONIKA PAVLECHOVÁ

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Born in Slovakia in 1976.

Lives&works in Bratislava.

EduCAtION:

2010-2013 Academy of fine Arts&Design in Bratislava, Slovakia, ArtD. Candidate

2008-2010 Athens School of Fine Arts, Greece, Postgraduate scholarship, MA

2000-2006 Academy of fine Arts&Design in Bratislava, Slovakia, MA

studio “IN” of Ilona Németh, Doc. acad. sculptor Tomáš Ruller “Open Studio”, “Open Studio” of Rudolf Sikora

2004-2005 Academy of Arts, Architecture&Design in Prague, Czech republic

2003 Aristotle university of Thessaloniki, School of Pictorial&Applied Arts, Greece

1991-1995 Secondary school of Applied Art, Uherské Hradište, Czech republic

*Curriculum Vitae

[email protected]

www.pavlechova.com

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SOLO ExHIbItIONS:

2011 Retention and Protention, OpenShowstudio, Athens, Greece

2010 Questions-Answers, Peter Matejka Gallery, Nové Mesto nad Váhom, Slovakia (in collaboration with Matej Lacko)

— Questions-Answers, Miloš Alexander Bazovský Gallery, Trenčín, Slovakia (in collaboration with Matej Lacko)

2008 Vanishing Point, M++ Gallery, Bratislava, Slovakia

— Stille Wasser, 13m3 Gallery, Bratislava, Slovakia

GrOuP ExHIbItIONS:

2011 Agorasmenos, CheapArt Gallery, Athens, Greece

2009 Returns, Peter Matejka Gallery, Nové Mesto nad Váhom, Slovakia

— 4th Prague Biennale, Karlin hall, Prague, Czech rep.

— nomadSPACE | Wandering gallery, Slovakia

— Video Art Festival Miden, Kalamata, Greece

— Sarajevo Winter, Sarajevo Peace Center, Sarajevo, Bosnia and Herzegovina

2008 Video Art Festival Miden, Kalamata, Greece

— Aqua, United Nations pavilion, Expo Zaragoza, Spain

— Two Nodes, Jan Koniarek Gallery, Trnava, Slovakia

2007 Videomedeja, Museum of Vojvodina, Novi Sad, Serbia

— Horizons of topicality III., Miloš Alexander Bazovský Gallery, Trenčín, Slovakia

— Curtocircuito, International Short Film Festival, Santiago De Compostela, Spain

— Festival Internacional de Curtas Metragens, Sao Paulo, Portugal

— Sedicicorto, International Short Film Festival, Forli, Italy

— 18. Festival international de l’affiche et des arts graphiques, Chaumont, France

2006 International Film Festival Bratislava, Bratislava, Slovakia

— International Film Festival Artfilm, Trenčianske Teplice, Slovakia

— Diplomky, Open Gallery, Bratislava, Slovakia

— Konekšn, Gallery Hit, Bratislava, Slovakia

— Multiplace, C2C Gallery, Prague, Czech rep.

2005 Site Specific, Museum of Hungarian Culture in Slovakia, Bratislava, Slovakia

— Res Publica, Open Gallery, Bratislava, Slovakia

— Small Inventory, Alfred ve dvore Theatre, Prague, Czech rep.

2004 Istroart, Médium Gallery, Bratislava, Slovakia

2003 Slovak Photography 1925-2000, City Gallery Prague, Czech rep.

2002 AFAD Representative exhibition in Governmental Palace, Vienna, Austria

rESIdENCIES:

2011 Workshort Residency, Reca, Slovakia

WOrKSHOPS:

2011 Abandoned Recreation, Trenčianske Teplice, Slovakia

2004 Istroart, Bratislava, Slovakia

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VIdEOGrAPHy:

2008 Stille Wasser

2006 Get a taste of life

— A way out of town

— Factory window

2004 Save yourself

— Once

2003 No entry in swimsuit

SCrEENINGS:

2009 Video Art Festival Miden, Kalamata, Greece

2008 Multiplace, Ján Koniarek Gallery, Trnava, Slovakia

— Video Art Festival Miden, Kalamata, Greece

2007 Videomedeja, Museum of Vojvodina, Novi Sad, Serbia

— Curtocircuito, International Short Film Festival, Santiago De Compostela, Spain

— The Sao Paulo International Short Film Festival, Sao Paulo, Portugal

— Sedicicorto, International Short Film Festival, Forli, Italy

2006 International Film Festival Bratislava, Bratislava, Slovakia

— International Film Festival Artfilm, Trenčianske Teplice, Slovakia

bIbLIOGrAPHy:

Agorasmenos, exhibition catalogue, 2011

Questions-Answers, exhibition catalogue, 2010

4th Prague Biennale, exhibition catalogue, 2009

Agua, EXPO Zaragoza 2008, exhibition catalogue, 2008

Videomedeja, exhibition catalogue, 2007

Horizons of topicality III., exhibition catalogue, 2007

Chaumont Festival 2007, exhibition catalogue, 2007

International Film Festival Bratislava 2006, exhibition catalogue, 2006

Istroart 2004, exhibition catalogue, 2004

Profil, art magazine, number 4/03, exhibition review

Profil, art magazine, number 3/04, exhibition review

Profil, art magazine, number 1/02, exhibition review

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GILdING Of 52

Site specific installation, re-painted metal numbers on the doors

— 2011

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GIlDING Of 52 vznikla v rámci akcie “Abandoned recreation”,

ktorá bola zameraná na intervencie v opustených architektonických

skvostoch v kúpeľnom meste Trenčianske Teplice na Slovensku.

Je reakciou na ľahostajnosť, neúctu a neschopnosť vážiť si vlastnej

histórie a dejín, deficit národnej hrdosti a neschopnosti zúročiť

a “predať ďalej”, tak príznačnej pre slovenskú mentalitu.

GIlDING Of 52 predstavuje pozlátenie 52 čísiel na dverách od

prezliekární v areáli schátralej funkcionalistickej stavby legendárneho

letného termálneho kúpaliska Zelená žaba od fenomenálneho

architekta českého pôvodu Bohuslava fuchsa.

Základná myšlienka autorovho urbanistického návrhu mesta bola

snaha o zatraktívnenie polohy mesta rozšírením kúpeľov do nových

slnečných polôh na terase južného svahu Teplickej vrchoviny.

Z jeho odvážneho návrhu sa však realizovala len malá časť - kú-

palisko Zelená žaba. Kúpalisko je príkladom dokonalej symbiózy

architektúry a prírody, do ktorej je včlenená. funkčne plnohodnotná

stavba je považovaná za vrchol organického funkcionalizmu na

Slovensku.

GILDING OF 52 door numbers of changing rooms within the

action “Abandoned Recreation”, which was focused on interven-

tion in the abandoned architectural treasures in the spa town

Trenčianske Teplice in Slovakia. It responds to disregard, disre-

spect and failure to appreciate one’s own history, the smallness

of national pride and inability to capitalize on a “resold” as typical

for Slovak mentality.

GILDING OF 52 represents 52 numbers on the doors of the chang-

ing rooms in the area of a functionalist building legendary summer

thermal swimming pool Green Frog by the phenomenal architect

of Czech origin, Bohuslav Fuchs.

The basic idea of the author’s urban design was an effort to

position the city more attractive by spa expansion into new posi-

tions of the sun on the terrace of the southern slope of Teplice

Highlands. His bold proposal, but implemented only a small part

- Green frog swimming. Swimming is an example of perfect sym-

biosis between architecture and nature to which it is incorporated.

Each other to form a harmonious whole, the architecture also

harm the natural environment, but rather enriches it. Functionally

full-fledged construction is regarded as the pinnacle of organic

functionalism in Slovakia.

Installation view

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I’M COMING SOON!

Site specific installation, pen on paper

— 2011

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HNeď pRíDem je odkazom na prežitok našej socialistickej mi-

nulosti, kedy stáť v radoch na akýkoľvek druh tovaru pred dverami

predajne bola každodenná rutina a samozrejmosť.

Dočasná, ale zato celkom častá neprítomnosť predavačov na ich

pracovisku bola zvyčajne oznamovaná prostredníctvom rukopisného

odkazu na oknách alebo dverách pevádzok zaužívaným spôsobom,

ktorý bol každému zrozumiteľný.

Inštalácia bola realizovaná v opustenom areáli termálneho kúpaliska

Zelená žaba v kúpeľnom meste Trenčianske Teplice na Slovensku.

I’M COMING SOON is referring to leftover our socialist past,

where queuing for any kind of goods at the door store was a daily

routine for granted.

Temporary, but it was happening quite often, the absence of

sellers at their workplace was usually announced to the public by

a message of a handwritten reference usually stuck on the store

windows and doors.

Installation was carried out in an abandoned area of the thermal

spa Green Frog in the spa town Trenčianske Teplice in Slovakia.

Installation view

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rEtENtION ANd PrOtENtION

Site specific installation

— 2011

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ReTeNCIe A pROTeNCIe spracováva osobné témy a zaoberá sa

minulosťou, prítomnosťou a budúcnosťou. pracuje s momentom

v osobnej histórii, pričom využíva jeho vlastnú estetickú formu.

Spracováva jeden z mílnikov vo vzťahovej histórii, nazerá ho cez

jeho vlastné výstupy vo forme osobnej korešpondencie. Symbo-

licky využíva priestor, v ktorom sa prezentuje. Jeho stiesnenosť

a zároveň otvorenosť, transparentnosť a hlavne priechodnosť.

Obsah najosobnejšej komunikácie je sprístupnený zraku verejnosti,

ale stále má čo skrývať. Obsahovo sa dielo pohybuje v intenciách

Husserlovej fenomenológie a jej významov. (Spomienky

a očakávania, podľa Husserlovej fenomenológie.)

Inštalácia pozostáva z transparentného textu, ktorým je obsah

jedného z osobných listov. Text je nalepený na frontálnom skle

galérie, je filtrom a zároveň “intro” do priestoru inštalácie, ktorá

sa nachádza za ním. ďalej obsahuje obálky s listami, pohľadnice –

kompletnú reálnu korešpondenciu a fotografie.

RETENTION AND PROTENTION processes personal issues and

deal with past, present and future. It works with a particular mo-

ment in personal history, using its own aesthetic form. Process-

ing of milestone in a relational history, seeing it through its own

outputs in the form of personal correspondence. Utilizes symbolic

space in which to present - its depression and at the same open-

ness, transparency, and especially permeability. The content of

most personal communication is made — available to the public

eye, but it still has nothing to hide. Content, the work moves in

Husserl’s phenomenology and the intentions of its importance.

(Memories and expectations, according to Husserl’s Phenomeno-

logy.)

Installation consists of a transparent text that is affixed to the

frontal glass gallery space and works like a filter and an intro to

the area with the installation that is behind it. Also contains the

envelopes with letters, postcards - complete real correspondence,

and photographs.

Installation view

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IS CONtEMPOrAry Art A GOOd INVEStMENt?

Installation, pigment on the floor, 130x300cm

— 2011

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IS CONTempORARy ART A GOOD INveSTmeNT? je príspevkom

k diskusii o povahe vzťahu súčasného umenia a trhu so súčasným

umením, resp. koexistencie týchto dvoch paralelne sa vyvíjajúcich

prostredí, a tiež kritickou reflexiou umelca v jeho sebarealizačnom

prostredí s pravidlami a predpokladmi pre úspešné fungovanie

v trhovom mechanizme.Je to gesto, prostredníctvom ktorého kla-

diem otázku o zmysle investície do súčasného umenia ako artefaktu,

ktorého hodnota je umelo vytváraná.

Na jeho realizáciu bol použitý maliarsky pigment purpurovej farby.

IS CONTEMPORARy ART A GOOD INVESTMENT? is a contribu-

tion to the debate about the nature of the relationship between

contemporary art and contemporary art market, coexistence of

these two simultaneously evolving environments, and also a criti-

cal reflection of the artist in and his self-realization process with

rules and preconditions for successful functioning in the market

mechanism. It is a gesture through which I question the mean-

ing of investment in contemporary art as artifact, which value is

artificially generated.

For its implementation I used paint pigment of purple colour.

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Art IS My PASSION

Object, envelope, letter, card, 21x30cm

— 2011

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ART IS my pASSION apropriuje a rekontextualizuje koncept mysti-

fikovaného kolektovania autogramov písomne oslovených výtvarných

umelcov do privátnej zbierky jedného náruživého milovníka umenia.

ART IS My PASSION appropriates and recontextualises the

concept of mystified collecting of autographs in writing addressed

artists who are thus invited to participate in the private collection

of a passionate art lover.

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brANd NEW dAy

Digital photography, Light box, 29,7x42 cm

— 2010

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Ako štipendista gréckej národnej nadácie pre štipendiá (IKy) žijúci

v Helénskej republike od roku 2008 do roku 2010, som bola pria-

mym pozorovateľom zložitej politickej konfrontácie medzi krajinou

a európskym spoločenstvom o vzniknutej ekonomickej situácii, ktorá

sa vymkla kontrole kvôli obrovskej štátnej zadĺženosti. finančná

kríza postihla celý štátny ekonomický systém a vyústila do politickej

konfrontácie s ekonomickou realitou.

foto realizované v meste Atény.

As a fellow of the Greek State Scholarships Foundation (IKy) living

in Greece from 2008 to 2010, I was a direct observer of the diffi-

cult political confrontation between the country and the European

Community on the resulting economic situation that is out of

control because of the huge national debt. The financial crisis has

affected the entire national economic system and led to political

confrontation with economic reality.

Photo made in the city of Athens.

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PErfECtION

Installation, black text on a window sill, overall dimensions are variable

— 2010

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What does perfect ion mean to you?

“In my place, in my place

Were l ines that I couldn’t change

I was lost , oh, yeah

I was lost , I was lost

Crossed l ines I shouldn’t have crossed

I was lost , oh yeah

And yeah, how long must you wait for i t?

yeah, how long must you pay for i t?

yeah, how long must you wait for i t?

Oh, for i t

I was scared, I was scared

Tired and under prepared

But I wait for i t

And i f you go, i f you go

Leave me down here on my own

And I ’ l l wai t for you, yeah”

/Coldplay, “ In my place”, A Rush of Blood to the Head, 2002/

“Perfect ion could be reached through a passive await ing of grace rather than by an act ive str iv ing.

This theory, formulated in Spain by Miguel de Mol inos(ca. 1628 - 1697), spread in France, where i t was

espoused by Madame Guyon (1648 - 1717) and for a t ime attracted Francois Fénelon.“

/ Tatark iewicz, “Moral Perfect ion,“ Dialect ics and Humanism, vol . VI I , no. 3 (summer 1980), p. 121 /

Installation view

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rEMEMbErING

Site specific Installation, metal filings on the floor, overall dimensions are site-specific

— 2009

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Site-specific inštalácia RememBeRING pracuje s pamäťou miesta

a s materiálom úzko súvisiacim s históriou a funkciou priestoru,

pre ktorý bola vytvorená. Na inštaláciu bolo použitých cca. 80 kg

kovových pilín, zachytených odsávačom a nazhromaždených počas

niekoľkomesačnej nepretržitej každodennej prevádzky brúsky na

ostrenie dielenských nástrojov do obrábacích strojov (ako sú vrtáky,

frézy, píly, sústružnícke nože a pod.), využívanej vo fabrike zaobera-

júcej sa výrobou kovových dielov určených pre ďalšie spracovanie.

priestor Karlínskej haly slúžil v minulosti, okrem iného, ako továreň

na priemyselnú výrobu parných, horúcovodných a teplovodných

kotlov a spaľovní odpadov pre potreby domácností, podnikov,

ale aj jadrových elektrární. Ľudia tu pracovali na ich výrobe počas

niekoľkých desaťročí. všetko, čo tu po nich ostalo, je len jemný prach

rozptýlený v temných kútoch haly.

REMEMBERING, this site-specific installation, works with the

memory of location and with material closely connected with the

history and function of space for which it had been created.

The installation used about 80 kilograms of metal shreds collected

over several months in a metal-processing factory. In the past,

the Karlínska hala factory hall served for the production of steam,

hot water and warm water furnaces and the burning of waste from

households, industrial plants, and nuclear power stations. People

worked here for decades. And all that is left behind is the powdery

dust scattered in the dark corners of the vast hall.

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design matejlacko.com

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© Monika Pavlechová

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