IN SOMEONE ELSE’S SKIN (2021) A new library section of Karl May reveals a critical look at the tradition of playing Indians in our environment, especially in the context of German literature and culture where the "play at Indians" has been deeply rooted since the 19th century.
THE YELLOW BOOK (2021) Healing is not a simple action, but it can start as a gesture: a careful look or critical introspection; creating a space where the lack of and loss of a world as a whole is perceptible – so we can feel that we are part of a world that hurts and causes hurt.
I FOUND IT SOMEWHERE BUT I CANNOT FIND IT (2021) The materialisation of this absence, in a soft and malleable material, reverses the sense of the column as a supporting architectural element, and also puts into question its sense of mental support for a collective memory.
FU JA RA - epilog (2021)
I FOUND IT SOMEWHERE BUT I CANNOT FIND IT (2018) Collective work on re-constructing the mystical diagram, an attempt to reach the original despite the limitations of the senses, a difference of what is below to what is above. Reading the image through the body, comprehending knowledge through repetitive movements, alchemical choreography.
LIBRARY (2011-ongoing) Books written, unwritten, read, unread, fictional. Sections, names, dates, references. A temporary monumental cognitive structure emerges, a map, a registry, or rather a non-library of spines, covers, titles. It captures that ephemeral content of the present that is constantly in motion and is lost before it can be written down anywhere.
WE DON'T KNOW THAT WE KNOW (2019-2021) There is a knowledge we both seek and fear, that we we don’t realise we already have. Freud compared psychoanalysis to archeology, sifting through layers of psychic structures to reconstruct a past and a truth we both know and don’t know.
THE PRESCIENCE OF LIGHT In collaboration with Lucia Tkáčová (2019) On the day of Soucek's death, his last manuscript mysteriously disappeared from the publishing house. These circumstances are a skeleton, a springboard, a thread to be spun further within the exhibition.
CIRCULAR RECTANGLE (2019) The French phenomenologist Maurice Merlau-Ponty describes the visual sense as „ a means to be absent from yourself“, to assist in “the inner fraction of being, which will truly let me find self- consciousness”
CLOUDS (2017,2018) in collaboration with Ilona Németh and Marian Ravasz "It is deucedly difficult to tell a lie when you don't know the truth." (Péter Esterházy)
IN SOMEONE'S ELSE DREAM (2017) It would be a mistake though to consider power only restrictive as its actions create a field for counter-action at the same time. Thus the prohibiting discourse enabled its opposite to constitute itself.
MISSING SOMETHING AND ITSELF MISSING (2017) Sun and rain, symbols of division, penetration and pervasion, knives, spears, arrows, phalluses and torches, furs, birds, aeroplanes, light, illumination, lit-up faces, crowns, halos, blinding light, judges, priests, doctors – all this appears as another image of the father which must disappear so it can persevere.
RETURN TO THE FUTURE (2013-2018) Milovice, originally a city of a hundred thousand, shrunk to a town with a few thousand inhabitants surrounded by collapsing military buildings. Decaying frames of barracks disappearing into the wild vegetation now look like ancient ruins, nostalgically suggesting the ancient glory of the conqueror.
SITUATION AFTER THE ARRIVAL OF WARNING PATROL (2017) Is it not strange that a soldier who kills innocent civilians is willing to sacrifice his life for his unit? That a commander who commands to shoot the hostages is able to write a loving letter to his family in the same evening? Is it not strange and morally perverse that people condemn “the manhunt for violators” in one context but approve of the practice in another context? And all this only because they have not heard their stories yet.
SITUATION 50 (2014) I have an impression that the community gives the kind of immunity to collective memory, which leads to the dispersal of responsibility. An individual perspective retrieves this responsibility.
SITUATION 50 - epilog (2015)
I FOUND IT SOMEWHERE, BUT I CANNOT FIND IT (2013-2016) I did not add any content to the existing context, for I did not want to build any new constructs. I only pointed at a certain gap, I created a topography of memory which does not exist.
CULTURAL HERITAGE IS NOT THE SAME THING AS NATIONAL IDENTITY (2010)
FU JA RA (2011) The work explores the figure of the Slovakian national hero “Janosik”, forming a fragment in the discourse on the connection between monuments and the tourism industry.
THE HACKED DREAM (2017) Then he smiled at me and his head became a balloon,floating in the air above me, but no matter how hard I tried to catch it, I just couldn't reach it.
UNTITLED II (2009) The perspective of “endism” placed them in a new context, showing how their value and significance may change.
LOST LIBRARY (2015) The project constitutes a library which has never come to exist, but there is a knowledge in it which we should possess.
UNTITLED I (2008) #LIBRARY #BOOK #TITLE #COVER #SPINE #SHELF #REGISTER #MAP #KNOWLEDGE #ACCESSORY #FOREIGN #SECONDARY #OBJECT #SUPPLEMENT #ASIDE #REMAINDER #ERGON #PARERGON #DRAPERY #MISSING #TRANSPHERIC #END #DISAPPEAR #ERASE #DISSOLVE #DISLOCATE #DISFUNCTION #CRUMBLE #ABSOLUTE #LACK #TEMPORAL #FRAGMENTATION #SPONTANEOUS #REPETITION #BEYOND #DESIRE
UNTITLED - artist book (2010-2014)
TOPOGRAPHY OF LOST BOOKS (2013) A question about absence, about something you cannot identify or which you regard as untrue, leads to the emergence of new forms. And this makes me believe in ephemeral interventions.
UNTITLED III (2010)
CITY DIARY (2013-ongoing) “City diary” consists of subjective analysis of ephemeral moments, invisible images and spontaneous situations generated through the urban reality/urban relativity. Each page relates to specific location and specific time, but in fact it relates to any location and any time. It states that one city can be present in any other city. It consist of drawings, maps, urban plans, collages poems and comments.
KOMENSKEHO 1 (2010) The found slides – nowadays a redundant didactic tool – represent a certain ideology of the institution of the former school which after a forced abort of its period of service has been layered with a particular architecture. The projection in a new space animates the vanishing building, its micro-history, time, space, ideology and institution. Nowadays non-existing address of Komenského 1 is updated in the context of new spatial coordinates.
LOST LIBRARIES (2012) Private libraries existed before public ones, in fact they formed their foundation. For example, when we talk about libraries destroyed during the war, we are thinking mostly about large collections of books. And what about small libraries, even containing an insignificant number of publications?
LOST THINGS (2014) The work is also a manipulation, but rather than concepts like coercion or violence, it opens the question of alternative approaches to history and the freedom of an artist to independently handle both its material and spiritual remains.
THE FUTURE OF THE HISTORY (2013)
CINEMA PARADISO (2009)
MAP IS NOT A TERRITORY (2011)
VERTICAL LABYRINTH (2009) Wall paintings help achieve orientation in a monotone urban structure, while their temporality and changeability generate another subsidiary labyrinth.The Serb urbanologist Bogdan Bogdanovic likened socialist-era housing developments to a maze insofar as the labyrinth is for the outsiders a metaphor of chaos, while for insiders it is the space of own significance.
RE-BYT PETRZALKA (2010)
CHANEL DE PETRŽALKA (2009) Petržalka is often called "a place without memory." The conversation format of the video and its possible discursive analysis reveal a background of relationships of the selected sample of teenagers with their local history, influenced by the lack of information and deeper knowledge. The absence of physical evidence of history (landmarks, original street grids, memorials, monuments, etc.) and the absence of orientation points generate surprising narratives.
LITTLE BIG CITY (2008) The actual developing projects in Bratislava are named in English and their names don’t correspond to their location, social context and site history. The list of names was submitted to translation agencies and particular names were translated into Slovak. In most cases the translations failure.
FROM EARTH TO THE EARTH (2010)
DE-ARCHITECTUALISATION I-IV (2010) City is becoming more like Koolhaas’s “junkspace”, in this case, overlapped with an uncontrolled, outreached or parasitic buildings.
SHRINKING CITY EXPANDING MEMORY (2010) Temporality Photo-documentation Fragmentation of time Fragmentation of space Absence Online exploration Appearing flashbacks Creating the memory Reconstruction of time Reconstruction of space Virtual existence Virtual presence Absence Virtual no-existence
SCENE OF CRIME (2006)