Connection, Symposium, Fiesta de arte, Tennenlohe, Germany, 2024
The sculpture called Connection connects the present with history, new technologies with natural material and tries to introduce an interactive element into the sculpture without using any external source. It aims to connect not only technology, but also a person with the work itself. The megaphones placed in the stone are meant to serve as hearing aids, with which you can listen to the stone and when you put your ear to it, you can hear an echo. In imagination, we can also see through the stone and thus be a part of its entire history, layer by layer. The stone is drilled through in three places, a 3D printed plastic megaphones are always placed at one end.
€100, group exhibition SCOOTER VI. – young art event, Ján Koniark Gallery, collaboration with Andrea Uváčiková, Trnava, 2024
The installation, in which we decided to 3D print from a water-soluble (environmentally friendly material) our promised fee for the exhibition, €100, reflects the crisis of remuneration for artistic work, which is often performed at best for the cost of the material, at worst for free or for a small fee. In the long term, such a situation is unbearable for artists, both from a financial point of view and also from the point of view of personal motivation and the threat of burnout. In the broader discourse, we continue the debate on the status of the artist as one of the possible solutions to this crisis. The work is procedural, gradually dissolving due to exposure to conditions (rain, wind, etc.).
Decimation, group exhibition OUT OF MIND OUT OF SIGHT, KUMST, collaboration with Andrea Uváčiková, Brno, 2024
Decimation is a set of two light interactive objects that have a basis in the elemental natural shapes of stone and mountain. The work illustrates man’s relationship with nature and the transformation that is omnipresent. In my reasoning, I start from the belief that what man creates is natural to us and therefore natural, so transformation does not always have to be fundamentally bad. The entry of man is essential here, therefore his approach to the objects turns the noise of nature into digital noise and thus opens up space to reflect on the similarities of these two worlds. Decimation is thus a statement of the current or even future digital world in which we hide and escape from the real one. The term decimation is derived from one of the functions that was used in the creation of objects and at the same time resembles the term decimated, which can well describe this transformation or the state of a person. We can thus say that the objects adopt the means of expression of the digital environment and thus depict the transformation of the world around us.
The iceberg method, group exhibition No Weather Today, Pilsen City Gallery, in cooperation with Andea Uváčiková, 2023
“It’s just the tip of the iceberg.” The tip of the iceberg as something superficial that we can see with the naked eye, but there is usually something more underneath. The tip of the iceberg as a small part of what is. As a foreboding of things to come.
At first glance, the installation lends itself to the primary idea of melting glaciers as a result of global warming. Unfortunately, even nowadays, the global environmental crisis seems so distant to many people that they consider it something that is happening “outside them”, something that does not concern them, or they deny it completely. Who and how is it affected by the fact that somewhere on the opposite end of the globe a glacier melts or that the temperature of the sea rises by a few degrees? It’s just the tip of the iceberg. Below it is a package of known consequences that are waiting for our planet, but also the unknown space of our future world, which we are approaching with our daily way of life. Can our worries, fears, stress and other subjective experiences also be a consequence of how is our society working? Can they also be a symptom of a life that is anxiously separated from the problems “out there”, at the other end of the planet, separated from the environment in which we live? And vice versa: are our subjective problems really subjective, or in the context of the entire planetary development, do they offer other explanations than that they are some kind of “defect of each individual”?
Text: Andrea Uváčiková
The installation consists of two objects, the first containing the text HOT, which is immersed in the aquarium. The text is printed from soluble PVA plastic, on which there is a layer of printing ink. The work is procedural. After the letters dissolve, only the color sinks.
The second object contains a sculpture resembling an iceberg, where only the tip is soluble. The object is placed in the aquarium together with a pump that pumps water to the tip of the object. The water starts only when a visitor arrives, a motion sensor is located near the object.
The installation contains drawings/texts that follow the objects. The drawings expand into the space around the objects on the floor.
Virtual exhibition, curator Andrea Uváčiková, VIR Virtual Gallery, 2023
https://www.instagram.com/reel/CxdGDdPs5Lp/
The exhibition Never Realized Sculptures by Zuzana Bartošová is a collection of never realized sculptures that are on view for the first time at the VIR gallery. The artist uses the virtual space of the gallery and its specifics, such as the absence of gravity, the possibility of viewing the sculptures from unusual angles or details of the sculptures. The exhibition also includes 2D images representing other unrealised sculptures or individual phases documenting their creation.
Joint exhibition with Václav Kočí, Chrudim Exhibition Hall, 2023
The summer exhibition in the Pippich Theater is characterized by colors, light and transformations. The project of two Brno artists, sculptor Zuzana Bartošová and conceptual painter Václav Kočí, is a dialogue about color and light. For both, although differently for each, color is an important medium of communication.
Text: Martina Vítková
Visualization of proposal to competition to create Marie Restituta sculpture, Brno, 2023
The main idea of the whole proposal is the imaginary connection of the statue with the nearby birthplace of Maria Restituta in Husovice, Brno. The dimensions of the statue are based on the layout of the house where she spent the first years of her life under the name Marie Kafková. The sculpture maintains the house’s aspect ratio on a reduced scale to fit more into the park’s designated location. More than an accurately represented house, it should be a place where it is possible to hide from the surroundings and can thus serve as a kind of reflection, contemplation or shelter from the surrounding world. The walls are cut so as not to create a completely enclosed space, but to connect the monument with the park. The technology of 3D printed concrete is chosen for the reason that, in imagination, the individual layers resemble the layering of time. In the individual layers of concrete, we can see the events and life’s sorrows that Maria Restituta encountered during her life. The undulations of the walls and the fluid form of the house are reminiscent of certain twists, journeys and sufferings in her life. Two glass crosses are placed in the walls, which symbolize her devotion to faith and refer to the incident when she refused to remove the symbols of faith from the walls of the hospital and thus came into conflict with the Nazi authorities. The crosses in the walls are made of green glass, as a reference to Marie Restituta’s fondness for beer, the glass should remotely resemble bottle glass in color. The crosses are placed so that they can be seen in or out, and their translucence should allow the sun’s rays to penetrate through.
Technical solution:
The memorial consists of two L-shaped walls, which will be 3D printed from concrete. L shape measures: 4360mmX2630mm, wall thickness 100mm, each wall consists of 2 layers of print with a diameter of 50-70mm. Concrete foundations must be placed under the wall in strips 500 mm wide and 800 mm deep.
Installation for the 55th anniversary of the Concrete Artists club, joint exhibition with Andrea Uváčiková in front of the AMB gallery, Hradec Králové, 2022 and installation in the Artičok gallery
Symbiosis, monument to the Helenín beech, in front of SUPŠ Jihlava-Helenín, 2022, two variants of design and realization.
Light object, solo exhibition, Old Town Hall gallery. Žďár nad Sázavou, 2022
The Light object exhibition presents selected light objects that are a certain cross-section of the creation of light objects and installations created between 2018 and 2022. Most of the works were created in collaboration with Andrea Uváčiková and are thus often taken from the contexts of past exhibitions and projects. However, the common denominator of the objects is light. Objects from two series can be seen at the exhibition. The first is called A cumulation responds to the problems associated with a large population and thus loosely follows the issue of this accumulation. The installation does not solve problems with accumulations and the associated accumulation, it is merely a statement or reflection on the accumulation of masses in space and the associated accumulation of heat. The objects are based on considerations about space and the dwellings we build, and are thus a free rendering of ideas about spatial solutions based on geometrized masses that surround us everywhere. These objects react to their surroundings and when there are more visitors, the objects heat up and change color, thanks to the fact that they are made of thermosensitive material. The light here simulates the feeling of warmth associated with it.
The second series is called Shapeshift. The main topic is a discussion of the object, its representation and remediation. The initial inspiration for the creation of the objects were prints created using the dry needle technique, serigraphic prints and drawings of objects, the author of which is Andrea Uváčiková. Zuzana Bartošová takes over these studies and re-converts them into a three-dimensional form (albeit already in a shifted, digitized form) and reconstructs the shapes into the form of minimalist objects. In them, he emphasizes the visibility of structures that arise naturally during 3D printing. The tools also determine the size and color of the individual segments from which the objects are assembled. Although the author enters the same input data, slight differences appear in the individual segments using up to three different printers. An important role here is played by the structure, the so-called filling of 3D prints, which becomes an important visual element by illuminating them. These automatically generated structures, which under normal circumstances would remain hidden from the viewer, are revealed and shape the form of these objects.
The last object, called Light object, is the latest work represented in the exhibition. It is an experimental way how to cast air that has been captured in the balloon. The lighting effects increase the feeling of heavenly uplifting lightness.