monika pavlechovÁ works
DESCRIPTION
MONIKA PAVLECHOVÁ WORKS SelectionTRANSCRIPT
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
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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17Installation view
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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19Installation view
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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25Installation view
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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