Anna K.E.
Anna K.E.’s background as a ballerina informs her artistic practice, which concerns the relationship between objects and their environment, and how the latter can often define or limit the former. Through installation, sculpture, and video, she often focuses her explorations of space on gallery architecture or the artist’s studio.
In her videos, K.E. engages in absurd or abject activities, such as attempting to fold a mattress across her body or to row herself across her studio on a board—gestures which question the utility of artistic creativity. The utopian promise of Modernism, especially as espoused by architects, lurks in the background of K.E.’s practice, which adopts these antecedent forms while questioning the ideological virtue and relevance of them by positioning them against her Sisyphean actions.
Markéta Adamcová
Markéta Adamcová’s oeuvre scrutinizes themes of nature, matter, and fertility, showcasing a visceral, painterly language in which insect and human bodies transmute in intricate crossovers of growth, decay, and rebirth.
In a recent series of works by Markéta Adamcová, the rhythm of brown, earthly tumbleweeds and seeds rotate and swirl. Recalling the transcience of bloom, it counters the mechanised predictability of daily life. Petals and carpels shiver; mating rituals entice bees in overflows of enzymes, promiscuous encounters in which the beauty of plants reveals nature’s mastery. Nature is beautiful—beautiful beyond comprehension. But, as Esther Leslie asks, what are the distinctions in creativity between nature and art? Is nature artistic, is she a real artist? Marks of the brush trace paths on cold surfaces and in layered dabbings; oil paint sinks into paper and the colours of soils deepen, replacing pinks and ochres. Something bulges and spills—words, rhymes—something asks to be buried.
Argišt Alaverdyan
The difficult-to-identify entities that appear to float or mirror between the merging spatial dimensions in the Flowing Positions set of images can be seen as forces that connect or blur different realities. The images play with the idea of expecting new forms of reality, in which our perception can finally dissolve in endless illusions.
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Pavla Dundálková
She sat staring into the darkness of the chest. She chewed foxglove on her tired, aching body. When she awoke in the morning, they stood silently around her. Slender and blending into their trees. One by one they told her that the sight of soil, dirt, mud and cracked earth gave them the greatest pleasure. The soil has its suppleness, its colour, its texture and its latent shape. They feel a piece of the whole world in the palm of their hands. What excites them the most is the space inside, where the soil comes alive and the seed becomes the germ for photosynthesis and new life. So they feel included in its course. The parable of the cave is turned inside out. The stalactites and stalagmites were eating into the open space. Truth has divided itself into too many simultaneous and individually undemanding tasks. There are doors that have been closed until the end of the world.
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