Exhibition: Socially alive
Type: Group
Date: 2016/08/31
Duration: 2016/09/16
Gallery: Gallery of Slovak Visual Artists, Bratislava, Slovakia
Curator: Michaela Guillaume
WWW: http://www.svu.sk/index.php?rain=sk/content/21
PRESS RELEASE:
PRESS RELEASE
Name of the exhibition : Socially alive
Location : Gallery Umelka, Dostojevského rad č. 2, 811 09 Bratislava
Opening : 31/8 2016 at 18:00
Duration : 31.8. – 16. 9. 2016
Exhibiting artists: Veronika Rónaiová , Mária Balážová, Zuzana Branišová, Blažej Baláž, Cyril Blažo, Roman Gajdoš
Curator: Michaela Guillaume
The exhibition was supported by the Fund for the promotion of art.
" Cultures grow and develop through mutual osmosis , contamination and the merger ."
Arianna Dagnino , Manifest of transcultural humanism , 2014
The exhibition project Socially alive is the realization of new positions post-conceptual art, with the current targeting cultural, political, gender and xenophobic contents that bring new social phenomena of the last period in Slovakia and Europe. The concept of the project is well-founded on the principle activity and the "reactivity" to current events when its name is based also on the antinomy to the project of the "Ghosts socially dead" (Christian Kravagna) mapping socially excluded publics. The exhibition is a proclamation to the agility of social transformation in a spirit of respect to trans modern new company, accepting regional cultural identity and uniqueness.
Slovakia and Europe under the burden of recent ecological events dominated by mixed feelings of concern, distrust, fear, frustration, anger, frustration. The theme is a state of crisis politically and socially tired society that is intimidated and scared also, without fair treatment and adequate intra and intercultural communication. What John Rawls calls overlapping consensus and Enrique Dussel, criticizes for its formal appearance is the fact that Europe is paying the price for their superficial altruistic multiculturalism, which is basically an expression of imperialist culture and restricts the possibility for the survival of all other cultures. The result is sterile multicultural dialogue, also by the expansive political and selfish goals, followed by "prominences" indigenous people back into Europe. Creating barriers and defense context only overlaps unpreparedness for intercultural (implicitly intracultural) dialogue and the immaturity of the political system. The idea of transmoderna by Dussel is non-Eurocentric mindset towards a society which fully accepts different cultural and ethnic identity, non-dividing and modern, postmodern, but accepting what is simultaneously pre-modern (older than modern), contemporary to modern, and basically therefore trans modern. It means to give up occidental attitude and accept what is "east of Eden" as unique and original, and not primitive and underdeveloped.Arianna Dagnino, within the issues of trans culture points out that the process of interruption of mutual intercultural dialogue, denying its importance, as well as the values of other cultures eventually suffocate our humanity. Creative culture, as Dussel calls a new cultural paradigm is not empty globalized unity, but rather trans modern pluriversality/diversity (with a lot of versatility, European, Islamic, Vedic, Taoist, Buddhist, Latin American, Bantu, etc.). Its multiculturalism is committed to critical intercultural dialogue. The essence of what Dagnino describes as trans culture, Kravagna as trans modernism and Dussel trans modern as a means to grant equivalence in intercultural communication, although asymmetric to each other, is not worried interchange, learning from others, as well as the integration of new elements from other cultures.
Exhibiting authors respond to the current state of intracultural but also intercultural framework. Veronika Rónaiová (1951) with her installation is in the confidential personnel area, by own artistic interventions intervene in the work of her father. While previous interventions are well-defined dialogue, thus leaving the intervention of the author as well as original works clearly identifiable status, in the exhibition for the first time, we see the full appropriation and acquisition of both artistic acts with overgrown composition to the author's installation. Into mutual communication enters father´s theme (previous generation), the phenomenon of Slovakia - a free interpretation of "Bouquet" by P. Matejka and intervention artist with painting reaching wider contexts. Blažej Baláž´s (1958) relationship to Slovakia is reflected in an authentic attitude and confrontation with the establishment of the system in which we live. Inoperable political and legislative structures, economic and environmental lapse and long-underdimensional cultural area that is subjected to open criticism of the reason for his activism. Work "WHOLELIFESPENDINOPPOSITEDIRECTION" identifies character of his life after 1969 until today, agitation and permanent "opposition" to the weaknesses in the system since 1989 and also draws attention to the fact how strenuous it is in our country can rely on the responsibility and truth. Intracultural framework completes Cyril Blažo (1970), artist humorous exaggeration that its inputs raises important and paradoxical phenomena in our country. The result is photo performance that arise as spontaneous, situational reactions, often with a humorous intervention own routines in a new context, a situation that author just discovered. Gender issues, cross-cultural phenomenon represented by Mária Balážová (1956). The public has long been known through unstable evolving cycle Snake geometry. Compressed sign - the archetype of the snake head, reflects the cultural, spiritual, historical and personal content. His reduced, geometrical figure also significantly accentuates the female gender. Perception of gender issues in watching her work first in more intimate context, the current connotation planes are moving towards the political criticism, strongly patriarchal system. Literally "feminist reading" bears the name of the triptych graphics that are geometric ideograms expressing availability of parliamentary seats in Slovakia, the Czech Republic and Poland with a significant disproportion of male-female power. Work of Zuzana Branišová (1980) ever usually post minimal or post conceptual diction is ideologically time targeting broader issues of communication, nationalism and culture. The author attends installation called "Grown". The object of the installation is about eighty seedlings spinach juices, medicinal plants, which has its place in gastronomy, but in Slovakia acts as expansive and invasive species. The author of such allusion thematises migration of human populations, mixing cultures and nations, the impact of which cannot be clearly polarized. Video performance Roman Gajdoš (1983) is controlled by a demonstrative burning of books as a reference to censorship, negation and destruction of cultural values caused by changes in political or religious conditions. Extermination, deleting, destroying not just the file, but any memories of it, expresses its strong form negations prior or ideologically, politically, culturally diverse, Herman Rafetseder talks about the term "offensive power."
Michaela Guillaume