Súčasný vhľad do tradične chápaného vnímania kresby prináša Mira Gáberová, ktorá ku kresbe pristupuje konceptuálne. Jej tvorba je naviazaná najmä na slovenské prostredie (štúdium na Vysokej škole výtvarných umení, ateliér maľby a nových médií), avšak posledné roky pracuje najmä v pražskom umeleckom priestore a čas ukáže, či sa stane stratenou/ nájdenou autorkou na štátnej hranici. Jej práca osciluje medzi videom, performanciou, kresbou a maľbou. V jej tvorbe sú prvky telesnosti, intimity, ironizácie, ornamentálnosti či sentimentu. Do expozície intervenuje in-situ realizáciou vytvorenou priamo ako reakcia na projekt výstavy a tvorbu Belányiho i Slamku.
Vystavujúci umelci
Viktor Belányi, Ľudovít Slamka
Mira Gáberová
Kurátorka , Text
Ľudmila Kasaj Poláčková
Roots,
Performance, 2019
Walking in new shoes with the soil from Slovakia in them. Land, soil of my Great grand parents, grand parents, parents (Ratka, near Lučenec, Slovakia)
Holding the Earth
performance 2018, with Ruta Putramentaite
Searching for a common ground lead us to the theme of our relationship to our environment: the relationship between us as foreigners in this land, and the relationship between our civilization and the environment where our civilization thrives nature.
How we define nature is a matter of agreement. Besides the strongly grounded romantic objectification of nature as pure state of ecologic coexistence, there are newer positions that suggest redefining our relationship to this <object>. Timothy Morton says that it would be more productive to get rid of term NATURE all together, if we want to start solving the ecological crisis that we find ourselves in.
With these thoughts in mind, we came up with the idea to do a performance where we would use the soil as a basic material of Life, and also as a sentimental symbol of national identity.
We gave out handfuls of soil as gifts to people during the opening of exhibition. Holding the piece of soil in their hands, they decide, what they want to do with it.
Vitrínka Deniska Olomouc
site specific installation
2017, video installation performance
video performance, 2016,
video performance, 2016
Zámerom celého videofilmu bolo vytvoriť viacvrstevnatý nelineárne štrukturovaný príbeh. Pokus o prepojenie videoartu s filmom. Celým videom sa tiahne modré a zelené kľúčovacie prostredie, do ktorého sa vnáram a vynáram. Pohyb a akciu som komponovala do rotujúceho kruhu v strede, kde som kráčala proti smeru pohybu, čo vytváralo dojem chodenia na mieste, v ďalších scénach sa dotýkam zelenej klúcovacej scény, využívam gestá z mojich starších videí alebo pracujem v perspektíve s priestorom približovaniesa , vzďaľovanie a dotýkanie sa, prepadnutie sa akoby do iného deja. (do starších obrazov, videí). Druhá reálna línia skladby videa pozostáva práve z mojich starších videí z nikdy nepoužitého video materiálu. Každopádne je pre mňa zaujímavé nachádzať nové nepostrihané, nepoužité scény a napriek vizuálnej podobnosti vytvárať nové časové súvislosti.
video performance, 2016
Group Performance, 2013
Warm-up: a set of physical exercises conducted immediately before a training or race. The role of a warm-up is to mobilize the functions of an organism and prepare it for a forthcoming activity.
Warm-up, a group performance is a part of a social event – the opening of a show. This warm-up is excessively long and aimless. It is a preparation for something that will not eventually happen.
Performance structure: 10-15 performers /artists, curators/ limber up during the opening. The course of a warm-up is loose – performers either fully concentrate on particular exercise figures or, if they want, they socialize and converse with other participants of the opening. They still continue their activity: limbering up and stretching their bodies. The performers are in plain clothes rather than in sportswear. The performance is situated in the first room of the show where it is also officially opened. I assume the performers will inspire not only themselves but also other visitors of the opening and they unconsciously start to imitate gestures and movements of the performers while conversing. The unconscious engagement in the performance is the basis for my assumption and I, myself, am curious how this behaviour will or will not work.
Performers: Katarína Poliačiková, Kata Mach, Mária Štraneková, Dominika Jackuliaková, Ivica Čampová, Peter Kollár, Daniela Krajčová, Jarmila Mitríková, David Koronczy, Erika Miklošová, Michal Stolárik
Knot Gallery No.1: Mira Gáberová
(:site specific video performance instalation:) 2016
2015
drawings, video 2014
I always try to live through and put up with everyday reality and various life situations.
I often look for an appropriate way of expression. I experiment and strive to be genuine in my output.
I have become a mirror… is an open series consisting of video, performance, installation and drawing.
1.I become a mirror…, is a series of drawings created by means of folding and impressing of a motif of a rose on a paper as if it were a mirroring of a flower from various points of view.
These drawings reflect my personal relationship to my mother. I want to give her all flowers of the world. That`s why I draw, impress, multiply and surround myself with them. I still feel I don`t have enough of them. When looking in the mirror I see her reflection, I feel her love as well as emptiness left after she passed away.
These pictures are not a memory, but an image of the future. It is an image of the gratitude.
performance, 2014
Video, loop, 2013
The video performance Shower takes place in Upper West Site in New York on a roof. After a morning run in the Central Park I stand still and let myself be washed by rain.
Shower is the last video from the trilogy of works (Keep Running, Winner, Shower) shown at the show Sport. It has a slightly meditative character symbolizing an acceptance of achievements and losses, realization of oneself, our abilities and weaknesses.
video installation, 2013
The video installation Winner was a part of the exhibition SPORT in the Slovak National Gallery. The projection screen of a size 3 x 4 m, hung from a ceiling evokes a view of a sport hall with a basket. The performance captured in the video, is a simple action in which I climb up on a basket and try to hold on to it for as long as I can. The work is an ironic interconnection of sport and art using as the common denominators the principles of competing, showing the best performance and eventually competing with oneself.
video, instalation, 2013
The video installation Keep Running was a part of the exhibition SPORT in the Slovak National Gallery. Three large format panels with projections create an illusion of an oval of the stadium. They are real shots of a racing track on the stadium in my hometown. The viewer can watch me running around the stadium over and over again.
On the one hand, Keep Running is a metaphor of endurance and concentration on own work.
On the other hand, it shows my real experience – the stadium in Lucenec where I used to train. It is a perfect example of time being stopped. Memory, re-living the past is captured in a video loop, in a racing track.
Knot Gallery: No.1: Mira Gaberova
site specific video performance installation, 2016
solo performance, 2013
In my place is a performance addressing the issues of a position, of being in place of someone else. To be in place of somebody else is possible only when we literally get in place of somebody else. It is impossible to understand, experience or see what the other do until we are not In the same situation. I follow in the footsteps of my video performances taking place on various stages, scenes and I try to get the viewer of this performance acquainted with this experience.
I stand in the middle of the stage and ask the unprepared audience one simple question: “Is there anyone who would like to stand in this place?” If there is anyone who comes and swaps my place, then this person is left alone on the stage, without any help in front of the audience.
It is very hard to assume the course of the performance as well as reactions of the audience. It is highly probable that I will stand there for eternity and keep on asking the same question. Or it might turn out to be a vivid social game that ends when everyone is fed up with it.
It is interesting to observe the performance with such a clear conception, though without any scenario, and see reactions of the audience, which becomes an important part of the performance.
video installation, 2013
The video installation I am/I am not was created directly for the exhibition Perfection at Pradela Bohnice in Prague. The work consists of two large-scale projections scattered in space. I am interested in the presentation of the pure existence and its reflection on the society. I ask the question: who am I? What is my role? I try to live this moment on the stage face to face to an empty auditorium. The both performances take place in the Slovak National Theatre where I was given 15 minutes to do shooting. This time overlaps with a previous scene, which captures preparations of some future show with a director and a whole staff.
The intriguing situation arises when a new performance is being created: I perform and people not knowing it become a backdrop fro my show. Or it can be reversed the other way, too. They play their roles and I am a backdrop for them. The second projection features the scene, where I stand alone facing an empty auditorium.
It is questionable which option is better and which has to be abandoned. My doubts and indecision creates the work I am/I am not (perfection).
Installation, 2013
The installation White glass created for the exhibition Derivates at the Novohrad Museum and Gallery in Lučenec. In the past there were 25 glass workshops active in the region. I filled with water the historic glasses made from clear glass in now not-existing glass workshops of Lučenec presented in glass cases in the museum. I filled them with their original meaning. I combined the past with the future, the museum with the gallery, the form with the content.
Performance group
is the project creating a creative, authentic and open environmentin the private space of my private space (kitchen, living room). One of the objectives is to constitute a flexible group of people willing to participate and create particular performances. Each performance is directed by an invited director (2 directors) who prepare a concept and draft the entire performance. Invited performers are informed about a script of a performance and they are willing to participate. A key part of Performance group is a participation of particular participants. During the evening session based on a collective generating of the idea – script - a new, common work – experience/situation is created. Despite the fact each performance is directed by a particular director/s interaction of all participants is a key aspect as the final work that should encompass also their specific inputs as well as “own handwriting”. Interaction, participation and collective experience within above mentioned situations are the key elements of the project.
Tension naturally arising among many individuals and opinions as well as roles played by participants is an interesting moment in the project.
The inception of the project Performnace group was conditioned also by conditions for common experience of given situations, which are in our routine or artistic moments unessential but in the given situation they are necessary to create the space filled with a creative energy and creative thinking. Kind of a laboratory. Performance group also follows my own private situations and events I want to incorporate into art.
( V mene Matky i dcéry i duši svätej, Amen)
video, 12sec., 2012, loop
The video In the name of Mother was created when my mother lived yet, It is a highly personal prayer, whispered out, exposed, sincere, never ending. In the name of mother, daughter and holy soul, amen. It is a plea for recovery, change. The shift of a gender in the prayer is also an expression of my awareness of my role as a woman, mother and daughter.
Falling asleep and other departures
This work is a minimalist video performance, in which a dimension of an image is unobtrusively being changed in the course of time. The video Falling asleep and other departures is a private analogy of the state of a long departures and subsequent loss of oneself. The last frame of the video refers to a static, numb point.
The video installation Falling asleep, other departures and losses reflects private analogies and associations connected with time related to this change. A gradual transformation from a 3D image to 2D halt. The process of transition from a movable, colour video to a static black and white image.
The video was projected on the dusty floor of the gallery. The video capturing my reclining self-portrait was slowly covered with white powder. The sound in the video is authentic (quiet sound of falling white powder). The video slows down and loses its richness of colour. The last frame of the video is missing and is replaced by a black and white photography. The black and white photography is not the result of a digital adjustment of a fading colour, but it is an output of a natural and mechanical flux.
I am not interested in sleeping and other departures in terms of dreams and surreal world, but I perceive and study it as a condition existing on a time line and resulting in one point followed by a revitalization. I am also intrigued by the relation between the death, as a static point, and an artwork, which in the moment of its creation goes from a process to point. Its own loss and estrangement is also connected with this moment.
Video installation, 2012
The project of Mira Gáberová and Ivan Svoboda addresses the relations between a flat surface and space. The artists thematize a 3D film projection, which forms a base for further interpretations and associations connected with flat and spatial rendition. They deal with a documentary or documenting record of reality in connection to manipulated 3D image that does not necessarily reflect the reality at all. The viewer`s experience with a 3D film projection is rather ambivalent: it is one of many technical attractions and marketing blockbusters, yet it is a shift towards a quasi-authentic representation. The project of Mira Gáberová and Ivan Svoboda blends a funny irony with interest in this “exclusive” technology. We are confronted with a paradox when a three dimensional rendition of reality by means of 3D technology is lame and 2D, or better to say 2,5 D image of a classical film projection on a screen is still “the best solution”. The installation refers to the principle of 3D technology: the viewer is a part of the scene. The relations between 2D and 3D are literally present in pressed plants of Mira Gáberová or in mushroom slicing or in presentation of a former press operator in the video. The use of an authentic character opens another reading of cinematography – the relations between a fictional and non-fictional film. In the field of technology it refers to the similar polarity between an authentic recording and technological manipulation of an image.
Marika Kupkova
Scene:
videoperformance, 2010- 2013
In this video-performance I am standing In front of a empty audience without movement. The curtain perpetually rises and falls/ my existance remains exposed ...I am. i tried to express the feeling of my being. Sometimes my meaning shines and sometimes it remains hidden.
video, 4 min. 40 sec., 2004
Using the physical properties of LCD screen I create an illusion of touch,
which is the core element of the whole video. By transposing and exporting the “touch box” of Valie Export, we find ourselves in a field, which is only a multiplied simulation.
Využitím správania sa LCD obrazovky vytváram ilúziu dotyku, ktorá je nosným prvkom celého vide. Prenesením a vyexportovaním Hmatacej skrinky od Valie Export sa ocitneme v rovine, ktorá je už len znásobenou simuláciou.
