Multi-faceted installation and single chanelled video projection with sound in collaboration with Pavel Prikasky.
Living matter – including flesh – is intelligent and self-organizing, but it so precisely because it is not disconnected from the rest of organic life.
Rosi Braidotti, Post-Anthropocentrism: Life beyond the Species
Isotonic /iso·ton·ic/ (-ton´ik)
1. denoting a solution in which body cells can be bathed without net flow of water across the semipermeable cell membrane.
2. denoting a solution having the same tonicity as another solution with which it is compared.
3. maintaining uniform tonus.
Dorland’s Medical Dictionary for Health Consumers, 2007
The salt in the small bowl looks up at me
with all its little glittering eyes and says:
I am the dry sea.
Your blood tastes of me.
Ursula K. LeGuin
In sea nutrient solution, the horseshoe crabs saturate their body fluids. Their blue blood is collected to detect some types of bacteria, and is one of the most expensive substances that a person uses within her/his own body. Could a horseshoe crab or bacteria be a measure of all things? We can imagine the political panorama of a hierarchical life on earth in the posthumanistic perspective of an inorganic agent, in our case the salt molecules traveling from one physiological environment to another.
By involving animals in the creation process, the authors symbolically intervene the pillars of the anthropocentric model, highlighting both their exclusivity and manipulation. Behind the individual stops and scenes of the exhibition, we can see different stages of ion regrouping. Salt penetrates living organisms as well as inanimate nature, in both solid and liquid states. The resulting shapes of the salt objects arose from the spontaneous need of the animal, the work within the space gives another level of meaning to the salt, the crystals covering the details of the textile and the walls framing the exhibition– these become the environment.
Nowadays, there is much to go beyond the genetic delimitation of the genus and species. Perhaps even the idea of a ubiquitous hybrid in the human imagination reconstitutes our bodily feelings. Various types of hybridity, morphing, and body interfaces reflect the different interactions of man and animal, and different modalities of dominance or coexistence. The artists provide us with a number of metaphorical situations, revealing various relationships between humans and animals, and what becoming an animal is.
Perhaps our body isn’t able to catch up with the present. Returning back to the fantastic zoology of archaic cultures today, sincerely expresses existential helplessness from the future. Anatomy of a new mythological being is generated at the intersection of magic and laboratory. The mythical animal, as a hybrid creation, is outside the evolutionary chain but its presence in the human imagination is an attempt to balance power relationships and interactions, or at least a place to stop in the liberating flow of imagination.
Top: Exhibition views and details at Fotograf Gallery, Prague
Last: Digital video with sound, 8:00
Clay, soy wax, sea moss, natural chalk, cling film
I glided into the next room where two replicas of the sculpture within her film continued to chronicle her journey. The set of sculptures is based on a tiny bone found within the inner ear. Each piece is a half of the bone allowing you to peek into a landscape typically unexplored by the human eye. The wet installations are completely made by organic materials (soy wax, clay) in order to function as an ecosystem for living organisms (water moss). A prehistoric history repeats, as a gradient of blue glaze splashes through the piece ending in drips atop Stegosaurusesque plates. They say the devil sits on your chest and that’s why you can’t move, you can’t move because you haven’t tried yet.
The sensory perception of chalk is experienced throughout the whole body, and this formed a chain of imaginative processes and associations, which provide a space for marginalized voices. Chalk is a tool of intercommunication, a map of an internal landscape, composed of rhythmic edits made by one’s own visualization. This is further encouraged by the intervention of playful imagery and language, which accentuate the rock’s dynamic character. Bones and Neighbors is a continuation of my ongoing interest in investigating the relationships between voice, landscape, the human body and material.
Top: Exhibition view at Plusmínusnula Gallery, Zilina, Slovakia
Photo: Peter Snadik
Last: Digital video with sound, 4:48
Multi-faceted installation commissioned by the Czech Centre London, curated by Ben Roberts. Part of an ongoing collaboration with Pavel Prikasky.
Adopting the visual language and commercial tropes of high street medical providers, the exhibition takes its form from a collaborative video work, Inner Monologue, which was shot partly within a doctor’s surgery. The waiting room aesthetic, embracing the architecture of the gallery and its shop front context, creates a looping meta reference between art work, location and audience. The installation itself becomes an artwork, an intervention within the landscape of shop fronts, offices and private residencies. The uncertainty created between the visual appearance of the installation and it’s operation as art work speaks to the artists’ concerns with ambiguity in relation both to their use of imagery and it’s reception. Narrative and figuration combine with abstractions and ambiguous signifiers to create a mysterious and fragmented view of the world which, perhaps superficially recognisable at times, remains elusive and out of reach, like a sensation of déjà vu.
Top: Exhibition views and details at Czech Centre London
Last: Digital video with sound, 7:14
Multi-faceted installation with sound, curated by Jitka Hlavackova. Part of an ongoing collaboration with Pavel Prikasky.
Antidote has evolved from an original choreography filled with references to specific types of physical exercises. The installation was staged within the interior of the National Institute of Mental Health; around MRI scan performers that imitate animalistic movements.
This specific form of therapy mimics animal locomotion patterns whilst demonstrating the cultural shift involving the conceptual expansion of the boundaries of humanity and the emancipation of other forms of life.For this exhibition, which was commissioned by the GHMP, the main color of the wall paintings is Prussian blue – a chemical mixture used as an antidote for poisoning by thallium, a highly toxic heavy metal used in new technologies such as mobile telephones.
Top: Exhibition view at GHMP, Prague
Photo: Tomas Soucek
Last: Digital video with sound, 4:40
Ceramic digital print on glass 90 cm x 60 cm, nylon, plaster filler on wall
Exhibition view at Castlefield Gallery, Manchester
Part of group show Oh, it is easy to be clever if one does not know all these questions
Digital video with sound
In collaboration with Pavel Prikasky
In the video Inner Monologue, we watch a gentle medical-painting therapy that alternates with graceful images of bodies floating in colored liquids. The camera films close-up as a woman’s voice whispers quietly. However, it is just as important to start listening as it is to watch. Only when we listen to the voiceover do we realize what kind of waiting room we are actually in. This isn’t about treating the ills that afflict the human body – it is about cursing the world of headlong technological development and our need to control processes that are uncontrollable. In the video, modern society is dissolved in a solution of slow-motion, calmness, attention to detail and a gentle flowing movement. The “procedure” of painting on the patient’s body is a metaphor for a magic ritual on the body of society.
Top: Exhibition view at Drdova Gallery, Prague
Photo: Iveta Schovancova
Last: Digital video with sound, 7:14
Video performance, 00:58
Miroslava engineers an atmospheric disturbance, rupturing the surface of the image of nature.