Temporary connection with dancing plant

Otvorenie / Opening: 9 June, 2022 18:00

Perforwomance by Nela Pučeková 19:00

Výstava potrvá do 22 júna / Exhibition runs until 22 June, 2022

 

Temporary connection with dancing plant / Dočasné spojenie s tancujúcou rastlinou je skupinovou výstavou diplomantiek a diplomantov ateliérov APK+ a VVV z Katedry Intermédii Vysokej Školy Výtvarných Umení v Bratislave. 

Názov výstavy Temporary connection with dancing plant vznikol kolážou vybraných slov z jednotlivých názvov vystavených prác. Toto intuitívne spojenie slov tak zastrešuje spoločnú výpoveď jednej generácie študentiek a študentov Katedry intermédií. To čo medzi nimi najviac rezonuje je téma tela vo vzťahu k technológiam a (alebo k) prírode a to z rôznych perspektív. Rovnako ako názov, tak aj jednotlivé práce vytvárajú akúsi koláž prístupov k tomu, čo sa nás ako ľudstvo bezprostredne dotýka – klimatická katastrofa, technológie a ich vplyv na naše telá, identity ale aj prírodu.

 

Práce študentiek a študentov reflektujú témy akými sú: hľadanie spirituálnych vzťahov technológii, človeka a prírody (Jakub Černošek); skúmanie hraníc našich tiel, ako ich dokážu rozširovať technologické protézy a ako hyperkonektivita prostredníctvom nich dokáže meniť naše “ja” (Patrícia Chamrazová);  prepojenie ženského tela s prírodou, čarodejníctvom, zraneniami a tiež oslavou a obdivom rôznorodosti (Nela Pučeková); hľadanie rovnováhy v dobe rýchleho technologického vývoja (Vikoria Revická);  preskúmavanie našej reality (Tsudoi Masuda) alebo aj virtuálnych svetov (Karolína Kožíková), či eskapizmus a útek do prírody, prítomné vnímanie krajiny v roli dočasného pustovníka (Ivan Kalev); otázky o tom čo znamená byť človekom, kde sú hranice človeka, kyborga, technológie, biológie, a ako uchopiť rozpadávajúcu sa predstavu o človeku ako vládcovi sveta (Ján Siman); podobne ako v románe Vegetariánka od Han Kang, uvažovanie o premene ľudského tela na rastlinu v časoch klimatickej katastrofy, kedy sa nová citlivosť k mimoľudským aktérom*aktérkam a planéte stáva nutnosťou (Paula Malinowska). 

“Ak je príroda nespravodlivá, treba zmeniť prírodu!” Laboria Cuboniks

Peter Sit   

 

 

Vystavujúce umelkyne a umelci / Exhibiting artists:

Jakub Černošek

Patrícia Chamrazová

Ivan Kalev

Karolína Kožíková

Paula Malinowska

Tsudoi Masuda

Nela Pučeková

Viktória Revická

Ján Siman

 

 

Vizuál / visuals: Dávid Koronczi

Program galérie z verejných zdrojov podporil Fond na podporu umenia / The gallery program is supported using public funding of Slovak Arts Council

by Denis Kozerawski

ABYSSES - APART, Boris Ondreička, Ján Ballx, Jozef Mrva ml.

Opening: 11.3.2022 18:00

On view until 11.4.2022

Exhibiting artists: APART, Boris Ondreička, Ján Ballx, Jozef Mrva ml.

 
“He who fights with monsters might take care lest he thereby become a monster. And if you gaze for long into an abyss, the abyss gazes also into you.” – Nietzsche (Beyond Good and Evil: Prelude to a Philosophy of the Future (1886), Chapter IV. Apophthegms and Interludes, §146).
 
 
We started preparing this exhibition during the pandemic, to initiate it in March 2021, thinking about the new abysses that emerged with the pandemic and the old ones that deepened.
 
In a situation where people are fleeing from the war and aggression of Russia, and when our forces are currently directed to help them, we considered the opening to be absurd. However, we still believe in the power of art and its importance across his spectrum, so we want this opening to be a meeting place for those who need it in these difficult times.
 
There will be leaflets with information on how you can help Ukraine (League for Human Rights; Who will help Ukraine), but it will also be a meeting for those who want to be together, cry together, bridge the abysses together.
 Abysses explores the phenomenon of unfathomableness, infinite-depth, fatal division, distance, trauma, disagreement, diversity, and bridging possibilities, as well as the secrets of out of sight, fear of falling, and curiosity as a progressive impulse to knowledge and creativity. Abysses appear both in the material world and in communication. The abyss concerns personal (social and psychological), civilization / cultural (myth, use of one metaphor in various disciplines and its transformations…), and ecological issues.
 
Abysses presents live activities and a visual-text installation by the hosting APART Collective in collaboration with Jozef Mrva, a painting installation and texts by psychiatrist and artist Ján Ballx in the center, and projections with the spoken word and sounds of curator and artist Boris Ondreička in the A Promise of Kneropy art space. Interestingly, his Abyss premiered in 2015 at School of Kyiv biennale as a diagram and lecture.
 
The abysses are an oscillation between individual and collective projects, which will be matched by the architectural division-sharing of the time-space of A Promise of Kneropy. The aspects of fellowship and belonging are also explored.
 
The gallery program is supported using public funding of Slovak Arts Council

by Denis Kozerawski

Harun Farocki - Shaping of Our Present

Opening: 14.1.2022

On view until: 28.2.2022

Exhibiting artist: Harun Farocki

Curated by: Peter Sit (APART Collective) in collaboration with Antje Ehmann

 
Shaping of our Present is the first solo exhibition of filmmaker, video essayist and author Harun Farocki in Slovakia. Harun Farocki is an important filmmaker who has influenced generations of filmmakers, artists and intellectuals.
 
 
Citing the influence of such Marxist cultural practitioners as theater director Bertolt Brecht, philosopher Theodor Adorno, and film director Jean-Luc Godard, Farocki consistently addressed two principal subjects: the practices of labor and the production of images.
 
 
This exhibition is a small demonstration of Farocki’s work (he has produced about a hundred films, video essays and documentaries in his lifetime) but also gives us an insight into why Farocki’s thinking and film language are still important for understanding the mechanisms of labor, surveillance, technology, colonization and production and control of images.
 
 
Harun Farocki (1944, Novy Jicin-Berlin, 2014). The work of the artist and film-maker has had a decisive influence on the history of the political film since the late 1960s. Besides over 100 productions made for television and cinema, Farocki – as long-time author and editor of the magazine Filmkritik, curator, and visiting professor in Berkeley, Harvard and Vienna – has conveyed his reflections on the relation between society, politics and the moving picture. His huge significance for the visual arts is reflected in retrospectives of his films in institutions such as Institut Valencià d’Art Modern, Fundació Tàpies/Barcelona and the Tate Modern/London, as well as in solo exhibitions at MUMOK/Vienna, Jeu de Paume/Paris, Museum Ludwig/Cologne, Kunsthaus/Bregenz and more recently at MUAC/Mexico and the Hamburguer Bahnhof in Berlin. In 1997 and 2007 Farocki took part in the documenta in Kassel, as well in the Venice Biennale (2013 and 2015). His work sets out a constant research on the conditions of production of the audiovisual image, visual resources and narratives, and the subtexts contained in the production and distribution of moving images.
 
The gallery program is supported using public funding of Slovak Arts Council and by Goethe-Institute Slovakia

by chiara

Natália Trejbalová - Isle of Altered Sun

On view from 28.10. – 24.11.2021 at A Promise of Kneropy, Pečnianska 7

 

Isle of the Altered Sun

 

Exhibiting artist: Natália Trejbalová

 

Curated by Ema Hesterová & Denis Kozerawski (APART Collective)

 

PR: Chiara Rendeková
Technical support: Andrej Žabkay

 

Isle of the Altered Sun takes place on the flattened Earth and is set in the distant future of the planet. Following the flattening, the atmosphere of the Earth has undergone further changes that have led to the extinction of some and the evolution of other species, including the humans that have lost their dominant position in the ecosystem. Isle of the Altered Sun is a possible picture of the world after what can be defined as a planetary catastrophe, which has changed the perception of nature as we know it.

 

Text by the artist

 

The gallery program is supported using public funding of Slovak Arts Council, Bratislava City Foundation and Bratislava Region.

 

Photography: APART Collective / Chiara Rendeková

 
Appeared on Artalk 

by Denis Kozerawski

Peter Kašpar - Liquid Being

On view from 8. – 20.10.2021 at A Promise of Kneropy, Pečnianska 7

 

Liquid being

 

Exhibiting artist: Peter Kašpar

 

Curated by Ema Hesterová & Denis Kozerawski (APART Collective)

 

PR: Chiara Rendeková
Technical support: Andrej Žabkay

 

In his solo show, Peter Kašpar disrupts our binary ideas about humanity and technologies. His artworks are situated in such thought space, which, instead of strengthening the stereotypes opens a wide field for reflection that goes beyond the limits of what we consider “typically human” and “typical for technologies”. He asks about the extent to which emotions, friendship or spirituality are concepts attributable to people and imitable by technologies. He also examines the relationship between sentiment, feelings, materiality and lust for it. Technologies and human lives are inseparably intertwined, we can’t live without them and they can’t live without us. Can data die? Is withdrawing from the heaviness that comes with materiality the way our futures should be shaped?

 

Text by Ema Hesterová

The gallery program is supported using public funding of Slovak Arts Council

 

Photography: APART Collective / Chiara Rendeková

 

Appeared on Artalk | Tired Mass | Easttopics | Agent d’Écarts

by Denis Kozerawski

Laura Gozlan - Pacify your lust before the all-seeing eye feels your heartbeat rising

On view from 16.7. – 11.8. and 1. – 15.9.2021 at A Promise of Kneropy, Pečnianska 7

 

Pacify your lust before the all-seeing eye feels your heartbeat rising

Exhibiting artist: Laura Gozlan

Curated by Ema Hesterová & Denis Kozerawski (APART Collective)

 

PR: Chiara Rendeková
Technical support: Andrej Žabkay

 

You can feel the pressing heat spilling inside of your body
It’s feeding your nerve endings
It rhythmizes them, tickles them
Hurry up, quick, before they see you
Hold up a little, release and …

Franco “Bifo” Berardi says, that capitalism is “based on an endless postponement of
pleasure, and simultaneously on the permanent excitement of desire” 1 . In this context, we can view the boiling ways of self-gratification and absorbing moments of climaxing as subtle, mass-practiced instants of resistance, which, however, do not deny the logic described by Bifo. On the contrary, they adopted it, ride with it and use it in their own revolutionary benefit.

Extension and postponement of the moment of climax makes it more intense and all the more excites us and our desires to reach it again, but despite the mentioned logic of
capitalism is pleasure – more or less articulated, more or less directly and more or less
involving our bodies – close at hand almost anytime.

Laura Gozlan’s installation composes a space of performative experience of climax. She
positions the moments of theatrically articulated lust and satisfaction into a contrasting and intimate environment disrupted by dark moments which disarray the social standards, and which refer to prosthetic aesthetics or senescence. In her videos moist by various bodily liquids (Dead Fingers Talk, I, II and III, 2021) we see an older woman situated in a composed setting of a theatre scene, loudly and shamelessly pleasing herself while confronting us with her penetrative, patriarchy unnerving looks. Together with objects derived from the shape of clitoris and torso castings, referring to self-restricting and – metaphorically speaking – the effort to pour bodies into stiff, impermeable forms, the artist points out to conceptions that were introduced to us as “innapropriate”, as “tabu”. She confronts our internalized discomfort from unfiltered gratification, sexuality of the elderly or prosthetic bodies… Orgasm thus
becomes a mobilizing element, an accelerator. The beginning, the process, the end.

Text by Ema Hesterová

Laura Gozlan (*1979) lives and works in Paris. She studied art and scenography at TAIK (Helsinki), at the Ecole Nationale Supérieure des Arts Décoratifs in Paris and graduated from Le Fresnoy in 2007. Recently, she took part in shows such as: Possédé.e.s, Panacée, CAC, Montpellier curated by and When the time swirls, when it turns into a black tunnel curated by Maija Rudovska at Futura Prague, following a residency. Her solo show titled Onanism Sorcery is currently on view at 40m cube, Rennes. Upcoming is her solo show at Les Bains-Douches, Centre d’Art Contemporain, Alençon. Laura Gozlan is represented by Galerie Valeria Cetraro in Paris.

 

https://lauragozlan.com

 

The gallery program is supported using public funding by Slovak Arts Council. 

Photography: APART Collective / Chiara Rendeková

 

by Denis Kozerawski

To please, to curse, to foretell: A fire crawling out from the windows of a tower

On view from 3.6. – 30.6.2021 at A Promise of Kneropy, Pečnianska 7

 

To please, to curse, to foretell: A fire crawling out from the windows of a tower

Exhibiting artists: Björnsonova, CESNAK MAJICK SOCIETY, Joey Holder, Maya Hottarek, Tabita Rezaire, Tai Shani

Curated by Ema Hesterová & Denis Kozerawski (APART Collective)

 

PR: Chiara Rendeková
Production: Peter Sit, Andrej Žabkay

 
We survived the winter on sterile rye in the face of the deficient copper in the soil, and germinated, reproducing both asexually and sexually, bound together by the sticky sap, to make pathogenetic neon hieroglyphic, code-writer, fungus. In the sticky sap, I came, sexually and asexually, and when I came I was a brain-eating alien. I was a snapped stalactite. I was your quivering shadow. I was a roundworm larvae carried by a sick pig in an industrial farm. I was shimmer. I was idle. I was a distant bark. When I came, I cried in karyogamic bliss to all the quarks that realized my pleasure, my unbreachable distance from my name… from my culture, from my history. June 2020. You will die.
 
(from Tai Shani’s video series The Neon Hieroglyph, 2021)
 
 
***
 
 
As we find ourselves in times that have extensive socio-political implications, the exhibition thematizes the insecurity, the suspicion and post-factuality gradually digging into our lives more and more. The many ambivalent mechanisms trough which we cope with this uncertainty and multiplicity of artistic processes (either politically-critical, or completely non-factual and sensual, scientific or even speculative) of the abandonment of what is considered “real” or “rational” take their forms in the interconnected realms of the technological, the natural, the mystical, the symbolical.
 
 

The gallery program is supported using public funding of Slovak Arts Council and Bratislava City Foundation

 

Photography: APART Collective / Chiara Rendeková

 
 
 Appeared on Artalk | Easttopics | Blok 

by Denis Kozerawski

Diffractions Collective - Gaming the Aftermath

Gaming the Aftermath

On view from 31.10.2020 – 10.1.2021 at A Promise of Kneropy, Pečnianska 7

produced and curated by Diffractions Collective (Vít Bohal, Dustin Breitling) and APART Collective

 

Surveying a planet fraught with climatic, biodiversity, governance and social crises, this lecture series aims to understand how ‘gaming’ as the supreme medium of our time invites engagement with questions related to systems-designing, that in effect, provides tools for orienting and working through our catastrophe-laden imaginary. We reflect upon whether games themselves can accompany how we engineer strategies aligned with models of adaptive intelligence, to interface and ‘melt’ into designing counter-worlds against the lock-in of futural disintegration. Through an examination of the role of logistics operating as the arteries of our world economy, we probe into how ‘walking simulators’ and ‘management games’ compel engagement with our ‘infrastructural unconscious’ and provide templates for ‘rafting-with’ the realities of supply-chain breakdown, displaced migrations, and a form of ‘bricolaging’ our way through adverse environments.

These adverse environments are specifically rendered through the competing imaginaries of how our future ‘landscapes’ will transform and how their depiction further comes to anticipate what we will inherit and inhabit in the course of a world either with us or without us. Thus, how do gaming ‘landscapes’ involve players and particularly how are their depicted alternation whether through the contours of the ‘virtual’ or ‘talons of the real’ come to converge and gradually enmesh as an ‘actual world’ we come to traverse through our interfaces.

Through the extension beyond the ‘mouse-eye-finger’ coordination complex, how does the constellation of other interfaces also encompass and extend the role of the body and its need to become ‘immersed’ in our Real and Virtual ruinous landscapes. Here, with the concept of ‘navigating through data sets’ interwoven with VR, AR, MR interfaces, can we envision how an ‘embodied choreography’ generated by specific games can serve as incubators to prepare and actively rebuild our landscapes and our infrastructural rewiring in the throes of catastrophe.

 

Text by Dustin Breitling

 

The gallery program is supported using public funding by Slovak Arts Council.

 

Photography: APART Collective / Chiara Rendeková

 

 

Appeared on Artalk | Easttopics | Blok 

by chiara