The author, a graduate of the PhD programme at the Department of Sculpture, Object and Installation at the Academy of Fine Arts and Design in Bratislava ...
Venue:Bunker – Nitra Gallery, Župné námestie 3, Nitra, Slovakia
Opening: Wednesday, 28th March 2012 at 5 pm
After the exhibition opening, you are invited to the afterpARTy, an informal discussion with both the author and curator. Free entrance!
The exhibition will last until 20th May 2012
The author, a graduate of the PhD programme at the Department of Sculpture, Object and Installation at the Academy of Fine Arts and Design in Bratislava (during which she also spent time at the Academy of Visual Arts in Brussels), belongs to a fairly small number of young female sculptors who work with connecting principles of free sculptural creation and the processes and strategies belonging to the area of the applied arts (textile). Even after a short period of time after finishing her studies, she presented her work in several group exhibitions in Slovakia and abroad (Belgium, Czech republic, Poland) and solo exhibitions (recently in LGPMB in Liptovský Mikuláš and HotDock Gallery in Bratislava).
Aspects of space are the essential factor influencing the character of a project the artist is working on. First of all, she purposefully integrates the place of the presentation – gallery space of “the bunker” into the complexity of the artwork, using its unusual features. It is a form of site-specific art (locally established during the 1990s), and it is a reflection of contextual thinking of the artist. But more than two strategies of working with space meet in this project: the place of the presentation/ installation itself (inevitable for the work), which is occupying and also commenting on that space, and the subtle soft textile installations – imitations of “micro-spaces” infiltrated within. They are also a key to finding other forms of this space, but not touchable or physically measurable. Rather, these are allusions (implications) to other connected spaces and events, acting as newly created memory models that we can read into as records of past elusive situations that really took place.
The realization of Mira Podmanická is a multi-layered testimony, and apart from structured space aspects, it offers ways of reading from the point of view of form and accidence: the use of textile with an aim to create soft sculpture, in this case rather installation, is the author’s way of defending the untypical sculptural materials and activities (sewing, embroidery) that did not belong to the spheres of the so-called “high art” for a long time, and were rehabilitated by the feminist authors during 1970s. Elements of intimacy and introversion accentuated by the white colour also offer connotations with the art of post-feminism, dealing with the gender questions (locally present in the work of Ľ. Sajkalová, E. Vargová o D. Lehocká).
In “Micro-installations”, more than in other works of the author, the aspect of carnality comes forward. It is present in a reference through patterns from fashion magazines. They are both foundations for the micro-spaces assembled by the author, and as references to physical coordinates of the body they become construction elements of the micro-installations. At the same time, they are a symbolic interface between the body and the surrounding space.