The mutual exhibition project maps the moments that in the works of both authors during the search for and in the process of defining human identity overlap and enable mutual communication (or as a case may be confrontation).
The mutual exhibition project of two artists Alena Adamíková and Mária Čorejová IDENTITY (the lightness of search) links together different creative approaches. The program of Alena Adamíková thematizes and redefines the genre of portrait in the context of contemporary visual and contextual shifts, while Mária Čorejová, using the medium of drawing, creates imaginative paintings that she develops in the space delineated by a man and human civilization. The necessity to confront various approaches dealing with the (existential) void, the fear of loss (losing the sense of belonging, loss of values) and consequently the crisis of identity is understandable and necessary mainly when those principles appear like essential social questions (and conflicts).
The mutual exhibition project maps the moments that in the works of both authors during the search for and in the process of defining human identity overlap and enable mutual communication (or as a case may be confrontation). The aim of the exhibition is to provide the spectator with a functional “mind-map” of different artistic outputs, selected from among the number of artworks by both artists with the focus on the theme of their mutual project.
Alena Adamíková manipulates the identity of portrayed person when she usually replaces faces (as the main carrier of appearance) and substitutes them with images. The image might be a landscape inscribed in the face of a person transposed into the painting from a historical photograph (most frequently the portrait of a child) or a head of an animal inserted in the human body. In a different situation the uncertainty is generated when facial features are partially deleted, or eyes are closed. The erasure of identity is a way for the author to examine to what extent face is the ultimate formation of a character and since when it diverts us from real truth. Can a man without a face be perceived as a unitary, recognizable being? What everything do we attribute to the recognition (analysis) of the face of another person? What does its absence mean for us?
Mária Čorejová’s approach is different. She places the identity (or its essential absence) into the framework of civilizational confrontation. She examines symbolical spaces that create and implement dogmas, ideologies and social paradoxes. Everything is determined by black “mass” of nothingness that absorbs visual moments necessary to develop the narration further in the mind of a spectator. The observer is denied a simple interpretation, it gets lost in black space dynamically imbued with the image. Where the “darkness” Čorejová made up ends the space for simplification and straightforward statements (and answers) begins. The author transposes the question of identity into the level where human feelings and ideas are represented by objects, buildings or culture defined relationships.