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<channel>
	<title>Martina Mäsiarová</title>
	<link>https://martinamasiarova.cargo.site</link>
	<description>Martina Mäsiarová</description>
	<pubDate>Fri, 07 Feb 2025 14:30:19 +0000</pubDate>
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		<title>Home</title>
				
		<link>https://martinamasiarova.cargo.site/Home</link>

		<pubDate>Tue, 17 Nov 2020 18:43:12 +0000</pubDate>

		<dc:creator>Martina Mäsiarová</dc:creator>

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		<description>MARTINA MÄSIAROVÁ


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		<title>We are Looking at the Same Sky</title>
				
		<link>https://martinamasiarova.cargo.site/We-are-Looking-at-the-Same-Sky</link>

		<pubDate>Fri, 07 Feb 2025 13:39:14 +0000</pubDate>

		<dc:creator>Martina Mäsiarová</dc:creator>

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		<description>We are Looking at the Same Sky












artist in residence&#38;nbsp;
installation, video, drawings, performative reading
SÍM Residency, Reykjavík, Iceland
2024


 





















































During a month-long residency I wanted to elaborate my ongoing artistic
research on questions of relation between drawing (line), language (word),
memory (time) and landscape, universe (space). 
I focused on exploring of the human ability to
observe, to look, to watch and see, to perceive and remember, and thus to
process these subjective perceptions into universal relations. My research also
outlines questions of the reliability or, on the contrary, the questionability
of subjective perspective and individual memory, the perception of time,
change.The
essential focus of the project was an attempt to depict ephemeral natural
phenomena, as brief as a blink of an eye or, on the contrary, those that last
for tens or hundreds of years and are unobservable for a single human lifetime.

Working with the imagery of the ephemeral phenomenon such as sky, darkness, the
lightness of the snow, tides, Moon and its phases, borderd between ocean and sky I created a series of drawings and watercolors along with a longscale video of a waterfall, where the falling of the water is slowed down to almost unperceivable motion.
&#38;nbsp;However, my main focus was on ellaborating a text - kind of a hybrid of poem, essay, reflection on language and nature. This was exhibited in a form of handwritten text on the wall and a performative reading session.A video work And drop by drop the world has vanished:&#38;nbsp;https://vimeo.com/1018885805

&#38;nbsp;






3D scan of an Open Space in Korpúlfsstaðir:&#38;nbsp;https://my.matterport.com/show/?m=cyZQMDD18xG

 

Art residency was supported using public funding by Slovak Art Council.&#38;nbsp;




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		<title>Laurelates of III. Portrait Triennial 2021</title>
				
		<link>https://martinamasiarova.cargo.site/Laurelates-of-III-Portrait-Triennial-2021</link>

		<pubDate>Fri, 07 Feb 2025 14:30:19 +0000</pubDate>

		<dc:creator>Martina Mäsiarová</dc:creator>

		<guid isPermaLink="true">https://martinamasiarova.cargo.site/Laurelates-of-III-Portrait-Triennial-2021</guid>

		<description>Laurelates of III. Portrait Triennial 2021




solo exhibition&#38;nbsp;
largescale photographs on textile, installation, drawings, various sizes and materials, butterfly wings
curator: Richard GregorThe Peter Michal Bohúň Gallery, Liptovský Mikuláš, Slovakia2024


 







































The International Commission of the 3rd Portrait Triennial has determined two laureates within the framework of an open call in 2021 - Slovak painter Martina Mäsiarová&#38;nbsp;(*1991) and Czech visual artist and activist&#38;nbsp;Lukáš Houdek&#38;nbsp;(*1984). By presenting them together, we continue the tradition, in which, for example, in 1988 there was a&#38;nbsp;solo exhibition of the historically first winner of the Triennial, the exceptional (photo-)realist painter Jozef Srna (1930-1992), whose works were therefore included in the collection of The Peter Michal Bohúň Gallery In Liptov Region. Although the current exhibition consists from two completely separate collections, they are connected by a&#38;nbsp;decent conceptualization, a&#38;nbsp;moody work with space and in space, as well as a&#38;nbsp;certain ephemerality of expression, which refers to a&#38;nbsp;larger, more concrete or monumental whole (story).

In practically every single work, Mäsiarová's work is linked to a real or fictitious plot framework, from which she offers us very subtle unnoticed (sometimes hard to see with the naked eye) traces. These traces can take the form of a drawing, a&#38;nbsp;photograph, visual poetry, a&#38;nbsp;text link, or even a&#38;nbsp;performance. Through them, the author makes subtly non-narrative situations accessible to the viewer or participant, which are quite resistant to the fast prose reading that we are used to today. On the contrary, like poetry, they first of all force us to detect the type of their specific poetics, tune in to it, and only then surrender to the actual reading. This is also Mäsiarová's current presentation - it consists of a&#38;nbsp;small amount of personal drawings or references, which she practically does not adjust or limit. The viewer gets as close to them as the author herself, which creates an intimate contact, including the risk that something will be damaged. Using the example of the work of Louise Bourgeois or Joseph Beuys, we know that small drawings or textual records often form a&#38;nbsp;counterpart to more monumental works that either politicize or, on the contrary, individualize or intimate. Mäsiarová's exhibition shows her thinking right in the middle of the search for such a&#38;nbsp;unifying or resulting pendant. 
Her diary works form natural thematic circuits, but at the same time they do&#38;nbsp;not cycle in individual poetics, they are freely rearranged, and it is obvious that within the framework of her "poetry collection" they are open to continuation in any direction.



  RG&#38;nbsp;













 





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		<title>Walk Me To the Moon</title>
				
		<link>https://martinamasiarova.cargo.site/Walk-Me-To-the-Moon</link>

		<pubDate>Mon, 16 Sep 2024 14:58:43 +0000</pubDate>

		<dc:creator>Martina Mäsiarová</dc:creator>

		<guid isPermaLink="true">https://martinamasiarova.cargo.site/Walk-Me-To-the-Moon</guid>

		<description>Walk Me To the Moon











exhibition&#38;nbsp;

curator: Beáta JablonskáNova Gallery, Bratislava, Slovakia2024


 




































Martina´s drawings reveal a fascination with a line. Its ability to emerge out of nowhere. To
stay for a while and to disappear again. To be a representation, but also to simply exist just
like that, just for itself. Although she studied at the Department of Painting in the Academy of
Fine Arts and Design in Bratislava, she didn´t consider painting as an isolated medium
concentrated merely on canvas and paint. She conducted a patient dialogue with painting and
step by step she established a minimalistic form of expression focused on inconspicuous and
imperceptible situations. She has been searching and discovering them in minimal gestures in

her drawings on paper, later in spatial interventions involving sound, light and performance.
However, this diverse collection of various artistic expressions, has always had its roots indrawing - line transforming in material, in its state, time and space. In such a way that
everything depicted and written provides an explanation of what is happening and what has
happened.

The line is not only a gesture or a description of shape, it is a record, a story. On paper, in
space, in word, in light and isound. Because, as Martina states: “I need light, because you
know it's there, even though you can´t touch it. I need paper, because it holds everything - on
it and inside of it. It can hold shape, it remembers. It´s haptic, when you draw you always
touch it with your hands. I need space where I display the piece. They are equal. I need sound because of a similar principle to light. Impossible to catch, but it is there. And I need a word,
because a word can do anything you can imagine.” 
The theme of her works is hidden in the line itself, in landscapes, in monochrome ink
drawings, or in the most subtle form on a piece of paper torn from the notebook. That’s
where, chained in quiet notes and references, for those who look closely, the theme of ENCOUNTER reveals itself - as if copying the nature of line. An encounter very often emerges from out of nowhere, to stay with you, and then to disappear again.

Martina Mäsiarová sees it in a metaphor - such as an encounter with a mountain, universe,

moon, sun, or with herself. She calls it “a feeling of a mountain”, that she experiences anew when she encounters someone or something. It is an ability - to accept, to connect, to surrender, but without getting lost, dissolving or vanishing away. To stay herself, to stay firm and solid. It is a constant balance between getting closer and receding. Like gravity. Like the
Moon, the Sun and Earth. Like a line that can rise up from the surface and vanish at the same
place. For it is only by its movement that what has been hidden in the blank areas is revealed. In
balance and in tension, the same as in life.
  BJ












photo credit: Ján Skaličan
 





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</description>
		
	</item>
		
		
	<item>
		<title>Þetta Reddast</title>
				
		<link>https://martinamasiarova.cargo.site/Tetta-Reddast</link>

		<pubDate>Thu, 16 Mar 2023 13:20:39 +0000</pubDate>

		<dc:creator>Martina Mäsiarová</dc:creator>

		<guid isPermaLink="true">https://martinamasiarova.cargo.site/Tetta-Reddast</guid>

		<description>
	Þetta Reddast















art residency - cooperation - exhibition - light- time 


Artak Gallery, Reykjavík, Iceland

2022


 





































Art Residency for artist DUO in Grundarfjordur in Iceland together with Ľuboš Kotlár led do a finall exhibition in Reykjavíkl where they showed the result of their month long thinking and creative process. They have been close friend since their studies in the Academy of Fine Arts and Design in Bratislava and this was their first official body of work. Although their art practice might seem leading to different directions,
there are issues and topics where they overlap. They like to perceive and
explore the nature and bodily experience within the landscape. What they both
find unbelievably appealing is the power of the Moon and other celestial
objects, they're closeness and distance, sky, clouds, darkness, non-linearity
of time, mere existence of the body within that time and space, ephemeral and
elusive phenomena. 



The final installation in Artak105 Gallery was a
result of a month long thinking process, discussions, trials and errors, failed
concepts, drafts, fitness and maybe also shiny stuff…a month long process of
looking for the end of a rainbow… The installation consisted from a series of drawings, textual notes of ideas and concepts, one print, few polaroids, ready-made stone, videos and Elvis Presley song Can´t Help Falling in Love.



They never know how it ends, but they always enjoy how it goes.



Eventually, there is always hope. It will be okay. 











 







Art residency was supported using public funding by Slovak Art Council. 












photos of the installation: Ľuboš Kotlár






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</description>
		
	</item>
		
		
	<item>
		<title>I Think We Share the Same Sky</title>
				
		<link>https://martinamasiarova.cargo.site/I-Think-We-Share-the-Same-Sky</link>

		<pubDate>Thu, 16 Mar 2023 13:49:37 +0000</pubDate>

		<dc:creator>Martina Mäsiarová</dc:creator>

		<guid isPermaLink="true">https://martinamasiarova.cargo.site/I-Think-We-Share-the-Same-Sky</guid>

		<description>
	

I Think We Share the Same Sky
Intervention to the Sphere


installation - time&#38;nbsp;
New Synagogue, Žilina
march 2022





















Reinstallation of a former project depicting the slow changes on the sky. The
series of drawings of total 200 pieces shows almost invisible changes of
the sky - stars constellations in time period of 20 000 years. Changes we are
unable to perceive during our lifetime are only visible when captured on the
timeline. 



Completing the Sphere was a project of an artist Juraj Gábor build in New
Synagogue in Žilina in 2020-2021. It was a vision on a monumental architectural
change of the space. The wooden construction was an art piece on the border of
architecture and sculpture and was pointing out the invisible sphere that was
inscribed into the cube of a building (New Synagogue) by and architect Peter
Behrens built in 1931. It is an imaginary continuation of the dome
ceiling. 









 






















 


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photo credit: Marek Jančúch





</description>
		
	</item>
		
		
	<item>
		<title>Before Eclipse</title>
				
		<link>https://martinamasiarova.cargo.site/Before-Eclipse</link>

		<pubDate>Mon, 30 Aug 2021 12:38:18 +0000</pubDate>

		<dc:creator>Martina Mäsiarová</dc:creator>

		<guid isPermaLink="true">https://martinamasiarova.cargo.site/Before-Eclipse</guid>

		<description>
	Before Eclipse






installation - light- time - atmosphere - circle

At Home Gallery, Šamorín, Slovakia

6.7. - 13.8. 2021



 



















The author speaks on
physical and emotional experience with the landscape. She observes, documents,
draws, notes, takes pictures, records in the whole vastness and width of the
images and emotions. Almost realistic drawings of natural phenomena, ephemeral
natural events leading to atmospheric impressions are suggestively combined
with sound platforms. In her drawings she captures subtle events such as
pupating and hatching of butterfly, falling of snow, movement of a comet on the
night sky, observation of colours of shadows and light…



Important element of
the exhibition is also the motive of sun and light. She perceives their intense
presence and sees them as an inherent part of the synagogue space. She plays
with an idea of nonlinear time that moves around, vibrates, twists, spins, and
in circles eventually comes back to the beginning. The exhibition is a
reflection on time and space, contemplating that is opened toward all the art
media, emphasising on their interconnection, harmonization, supporting and
underlining one another.



 




&#38;nbsp;
 



„a man comes in feels
like bowing his head down....but all the same he can´t help himself and his
gaze is trying to embrace the whole space, to see it all, altogether, at the
same time...the place, where the time meets another time. it is nonlinear. it
turns around, wriggles, shivers, vibrates, fades away and comes back...it flows
through the light, it´s present in the walls, in colours, in silence. the
shadow is equally present as the light. the light that comes from the outside,
from far away, mingles with the inner one, with the light of the place.



the sound of light.
the sound of silence. the silence has its own colour, the shadows have their
own light. is there a difference between silence and quietness?



a cyclic movement,
cyclicality of time, matter, space, circle as an endless movement – back and
forth. the end is the new beginning. a return. spiral. what does it look like
inside of a seashell? does it have start and end? has this end it´s own colour?



 it turns around, with no end….what does it
mean to pupate – to&#38;nbsp; create a cocoon
around my own body? it feels like building a shelter that fits perfectly
without a gap, with no spare space. with my own movement coming from the inside
– inside out. 



the moon on its orbit
meets the sun and in a certain point an eclipse happens……their complete overlap
lasts just a very short time, however the world is not the same as before. the
sun becomes crescent and its light changes the same way. 



a comet. again and
again and again, it comes back, repeatedly, regularly, with an absolute
accuracy. its tail is an imprint, a trace, a touch with the sky. ice and dust
and stone. stone. stone and light. and we are back at the beginning. again.



and who is an
observer? and what is it to observe?



to wait”



 



 



 



I imagine waking
up&#38;nbsp; 



and having a stone in
my mouth&#38;nbsp; 



other time I’m
falling asleep and I feel it behind my eyes 



just like that 



 anytime 



 or 



I wake up and it’s in
the same room with me&#38;nbsp; 



it fills the whole
space, the whole volume&#38;nbsp; 



only can I leave the
room by passing it by, closely



 





The project was
supported by Slovak Art Council in the form of stipend








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photo credit: Ján Skaličan





</description>
		
	</item>
		
		
	<item>
		<title>an interview with the observer</title>
				
		<link>https://martinamasiarova.cargo.site/an-interview-with-the-observer</link>

		<pubDate>Tue, 17 Nov 2020 18:43:13 +0000</pubDate>

		<dc:creator>Martina Mäsiarová</dc:creator>

		<guid isPermaLink="true">https://martinamasiarova.cargo.site/an-interview-with-the-observer</guid>

		<description>
	An Interview with the Observer



exhibition project


installation - light - time -dialogue - sun - relation

curator: Beáta Jablonská
exhibition designer: Lucia Gamanová

Turiec Gallery, Martin, Slovakia

5.5.- 30.6.. 2021






 
https://vimeo.com/562912414





















An interview, as defined in dictionaries, is a conversation between two
or more people, talking to each other, speaking to each other.



But how can a conversation be an exhibition? And anyway, what can be an
exhibition? 



Ever since Marcel Duchamp, anything. A connoisseur of art would say.
Just take the most ordinary thing in the world and put a label on it. Just
remember the gesture and show it again. Even a feeling can be exhibited; you
just have to figure out how. And storytelling? That's also been a common part
of exhibition practices since the avant-garde have ruled the world.&#38;nbsp; 



And interview? It is now becoming an important figure in the art scene
and in what we now call a performative turn. As the
philosophers would write, conversation can be that kind of linguistic speech the
point of which is not to describe or state reality, but to create it itself.
Already by telling, a new reality is being created. To put it more simply:
there are situations in which a fact and a word merge. Language and narrative is
not a system that hovers over reality, but it is reality itself. It constitutes
reality.



This introduction to the philosophy of rethoric acts is not a demonstration
for its own sake.&#38;nbsp; Every reader who knows
Martina Mäsiarová's work should, after these lines, raise their eyes to her
images, or, on the contrary, close their eyes to remember that... it is, after
all, about her! For, she creates with words and the relationships between them.
With emptiness or silence. Searched for in the written, discovered in the
spoken. She says that sometimes in her notebooks she gets into the habit of
repeating the same word over time. That she takes it and grasps it, turns it
over, touches it. She doesn't even know why, but she needs to understand and
digest it first in order to move on. For her, understanding happens through
writing and through drawing. She says: “After that, usually it turns into
something else. I feel like after I step away from it, I'm not the one who is
leading the conversation anymore, but I'm going along with it.....We're in this
together ..... “



Several drawings in this exhibition are her recollections of Balaton (a
lake in Hungary). Drawings. Free and playfully childish. They hold memories of
summer of 1999, when she took a trip with her parents to see the solar eclipse.
Her father, a scientist and astronomer, had the task of documenting this
natural phenomenon. She recalls how fascinated she was when the entire
atmosphere had changed for a few minutes. It was as if everything stopped and
was set in a different light, sounds, movements of people, colours - of the
world, of the air. She even found a long-forgotten family photography, a still
from an analogue camera, where in one detail of the shot suddenly appeared...
the feeling she was looking for, her restored emotion of the experience. There
it was - in the shadows of the shape of crescent moons, cast by the tree on the
white sheet. (During a solar eclipse, the shadows change shape as the sun
fades).



And somewhere in the back, buried deep in her memory, there are those
drawings of the solar eclipse that she had made as a child. She returns to them
in the present drawing, approaching them unconsciously, in a kind of untrained
hand. Because for her, drawing is the beginning. She feels certainty in it, a
validation of everything. Affirmation through drawing, or as she says:
purifying and smoothing the thought through drawing.



As it is in the drawing “Časozber” ("Timelapse") – it has been
created by redrawing of the observational protocols used to record solar
activities on the sun surface. They used to be sketched by observatory staff,
ideally every day. She used to go to an observatory with her father when he would
draw such protocols. Her time-lapse drawing is an interlaced archive of all her
father's records from 1993-2000. Like traces of time, in the most elemental
proto-beautiful form.



And this is where the conversation of “the doe and the observer” comes
into play, a fictional encounter between two entities that perceive and observe
the world on their own terms, each in their own way. 



O: Observation is a highly subjective act; even in my case, objectivity
is not guaranteed and the result depends almost entirely on the observer: on
his experience, his insight, his technical equipment, his note-taking skills,
his estimation, the steadiness of his hand, the precision of his eye, the way
he would wake up ... these notations do indeed average out, but ultimately they
do not give an objective picture, they are only a set of subjective views



("but I can't even draw", he used to say)



D: for you, drawing is just a form of recording... I agree with you in a
way, it is both leaving a trace and being the trace itself, a record, a record
of an experience. but I also see it as a movement, a process. drawing happens
the same way as language does, in the realization it becomes itself and makes
me become myself as well. it is both a language and an experience with the
world. where language is not sufficient, there comes stillness, silence. and
then comes drawing, touch. and vice versa...



O: we're both recording the stars over our heads. we are creating some
form of a map



D: it's all the same. the same but different



This is a fragment from Martina Mäsiarová's Master's thesis. It is about
everything that surrounds us and at the same time about what is the most deeply
hidden, somewhere deep inside of each of us. The observer here is a father, an
astronomer who believes in the order of natural laws and the logic of the
world. It is he who says: even that distant dark matter, about which we
actually know almost nothing, works conditionally and according to strict
principles and can be comprehended. Even though its principles may not yet be
articulated in a language we use and can understand today. Based on what I
realise from the looking above, I can guess both what has happened before and
what is to come. Everything about what you see down here on earth is written up
there.



She (the doe) continues the conversation: I too am an observer, I too am
looking around, searching, guessing...and trying to record it all...but I feel
like it's about something much smaller and closer. By observing, looking, a
touch with the world arises. I don't want to interfere in things and influence
their course and development; I rather ask than give answers. And when I ask, I
don't really expect an answer…it's not so much about getting an explanation....
rather...hmm... to realize the breadth of all possible possibilities?



In lieu of notes:



In order to write this introduction to the exhibition, it was necessary
to find support in the thinking, especially in the book by Alica Koubová:
Thinking from the Other Place (Myslet z druhého místa) and her engaging
rendering of John Lanshaw Austin's linguistic theory of speech acts. (The book
was published by the Academy of Performing Arts in Prague in 2019). And also,
were it not for Dana Tomečková's published interview with Martina Mäsiarová
entitled: Calling for an Encounter, which was published in Profil- the journal
of contemporary visual art in issue 2, in 2020, everything would have been more
difficult. Not to speak about the opportunity to experience the adventure of
reading Martina Mäsiarová's thesis: The Mountain, or About the Companion (VŠVU,
Bratislava, 2018), not to mention. Because the notes of the author of these
lines tend to get lost in meetings with the author of this exhibition. They are
often just a reference to the encounter, fragmentary fragments and illegible
calligraphy from the conversations between them.



Beata Jablonská



Supported using public funding by Slovak Arts Council







photo credit: Marek Jančúch



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</description>
		
	</item>
		
		
	<item>
		<title>The Death of Mr.T</title>
				
		<link>https://martinamasiarova.cargo.site/The-Death-of-Mr-T</link>

		<pubDate>Fri, 17 Sep 2021 20:17:43 +0000</pubDate>

		<dc:creator>Martina Mäsiarová</dc:creator>

		<guid isPermaLink="true">https://martinamasiarova.cargo.site/The-Death-of-Mr-T</guid>

		<description>
	The Death of Mr.T




performance - installation 





original concept: Peter Tilajčíkdirected by: Peter Tilajčíkchoreography: Nikoleta
Rafaelisovádramaturgy: Dáša Čiripováart concepts and performance:
Martin Hrvol, Ľuboš Kotlár, Martina Mäsiarová, Mária Ševčíkováoriginal texts: Dáša Čiripová,
Martin Hrvol, Ľuboš Kotlár, Martina Mäsiarová, Mária Ševčíková, Peter Tilajčík,
Judith Butler, Luigi Zoja, Susan Faludi, Ferdinand Petiškadramaturgy of sound and Sound design: Dominik Suchýcostumes: Ľuboš Kotlárposter: Ľuboš Kotlárlight design: Martin Hodoň





premiere: 30.5.2021 in Bratislava








 





















Father, you are the best
Father, you are the most
strict
Father, everybody says
Father, you are so kind
When we were little we would
wave at you
when you were leaving far away
we would live for you to come
back. We were always excited by surprises you had had
we were pupils, now we are
adults
you would forget about yourself
memories are foggy, the only
thing is for sure – you shared your love
Father, you are the best
Father, you are the most
strict
Father, everybody says
Father, you are kind




(lyrics and music: Michal
Dočolomanský, František Hergott – „ Father“)



 



 



In most of the modern cultures
we can find clear division of gender roles in terms of Mars/Venus archetypes.
This definition was supposed to help provide survival, both on individual and
collective level. 



“The main purpose of the dividing
roles of both parents was to optimise the chances to survive for their descendant
and to provide them better lives than those they had had themselves. “ (John
Gray, The Boy Crisis, 2018). By continuous destruction of a conventional model
of masculinity the question of its purpose tends to appeal more and more
intensively, which has a significant impact on inner lives of individuals,
their relationships, and thus resulting family bonds. 



 
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photo credit: Natália Zajačiková







</description>
		
	</item>
		
		
	<item>
		<title>1+1+1+1=1           II </title>
				
		<link>https://martinamasiarova.cargo.site/1-1-1-1-1-II</link>

		<pubDate>Mon, 30 Aug 2021 11:56:11 +0000</pubDate>

		<dc:creator>Martina Mäsiarová</dc:creator>

		<guid isPermaLink="true">https://martinamasiarova.cargo.site/1-1-1-1-1-II</guid>

		<description>
	1+1+1+1=1


23 - 25.7. 2020


project for Kiosk Festival





with Simona Gottierová, Dana Tomečková, in dialogue with Daniel Grúň


location: Klemensova 16, Žilina, Slovakia

instalation - situation - time


 



The world has slowed down recently; are we able to keep the change? To hold it? Can we stay in timelessness?

We create a place, an environment. A person enters inside and perceives, observes, searches, slows down. He/She stays with the situation and space alone. They might ask themselves a question: “what is happening? Is there something happening at all?” This something is familiar, close, known…..soil in a flowerpot is wet. There is a water boiling in the pot. There is something turn upside down. You can sense a smell of something: where is it coming from? An orange is peeled, but not completely. &#38;nbsp;A sentence is written but not finished…

Project is a continuation of the situation in Medium Gallery in Bratislava (2O19). It consists of visual, performative, poetic, day-to-day and familiar, mundane elements. The environment where visitors enter is alive - it´s rather an atmosphere. We are interested in what is ephemeral, temporal, what lasts just now. We work with a sense of intimacy and closeness and possibilities of their sharing.

Only one visitor enters the space at a time and can stay for 40-minute period. After they are gone, the space is refreshed and updated, actualised for newcomers.
photo credit: Ester Mládenková







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