Festival Prototyp Brno, thermosensitive 3D printing, sound, collaboration with Andrea Uváčiková, 2021.
A kumulace Zuzana Bartošová, Andrea Uváčiková Installation A cumulation responds to the problems associated with a large population and the associated with warming of the planet. The installation directly responds to the presence of visitors. Objects have sensors which directly response to movement of visitors and they start to heat and change colour. The objects are printed from thermo-sensitive material and thus change color in directly to the number of visitors in the gallery, so everyone can influence the appearance of the objects with their presence. The installation does not solve the problems with global warming, it is just a statement or reflection on the accumulation of materials in space and the associated accumulation of heat. Simultaneously with the objects, there is a sound installation in the space, which represents the accumulation of sounds directly from the gallery. The device captures sounds from different places in the space, which it gradually stores, the sounds overlap and thus creates an accumulation of sounds. The visitor not only influences the appearance of the objects, but with his presence leaves a trace in the form of sound in the gallery. Objects are made out of 3D printed parts. Imperfections of prints are left as important visuals details. The size and appearance of the objects will be directly proportional to the funds obtained from potential sponsors or a gallery contribution. Objects are thus something unclosed that we can still complete as the environment in which we are living. They are based on the reflections on space and dwellings that we build, and they are free materializations of ideas about spatial solutions based on geometrized materials that ubiquitously surround us. We sense missing parts in objects, and without knowing them, we can imagine them.
Festival DOM, 3D print (PVA), water system, collaboration with Andrea Uváčiková, Pistori Palace, Bratislava, 2021.
Processual installation, object, 3D print (PVA), soil, plants, metal construction, water system, 500 x 170 x 80 cm, 2021 In the site-specific installation Unproductivity is weed, the authors use the process of self-watering the planted plants to point out the constant need for production within the utopian vision of endless growth, which is still the mainstay of our society. The constant generation of new products (hyperproductivity) or the constant activity of man can lead to his exhaustion and, in a broader context, to the exhaustion of society and the planet as such. The authors have long been interested in the phenomenon of unproductivity, in the state when we consciously try not to produce anything and not to create waste. Getting to this state without suffering from remorse for not doing something is getting harder, however, when we admit that not knowingly doing something does not automatically mean laziness or a waste of our time, it can be this activity / inactivity, on the contrary, give birth to something beneficial. The installation consists of the text “productivity is a weed”, which is printed on a 3D printer from a special, water-soluble and biologically harmless filament PVA. The letters act as flower pots in which useful and medicinal plants are planted. The environment includes a self-watering system that supplies the plants with the necessary moisture. The experimental nature of the installation is underlined by the fact that the flowerpots gradually lose their form under the action of water. It is questionable how vegetation will cope with the gradual disappearance of borders and whether it will continue to grow freely, similar to “wild fruit”. The authors also point out the parallel between plant planting and letter planting (Czech planting), which were one of the “meditative” activities during the past year permeated by periods of quarantine and “lockdowns”. Under the pressure of circumstances, the company slowed down, became less productive and motivated many of us to spend time in the garden, in nature or in creation.
Modernism for the Future 360/365 Project, 3D prints, collaboration with Andrea Uváčiková, Kortrijk, Belgium, 2021.
The project is based on the morphology of the Hardware store building, which has undergone changes over the years. Our goal is to point out the development of the external features of the building (external features), but also the connection with the purpose for which the building was used (internal context). We want to relate the modernist features that the building bears to the ideas of modernity (in general) through contextualization. We choose architecturally interesting parts of the exterior and interior of the building, from which we plan to create scale 3D models from original materials (concrete, glass, etc.). This will create a series of models that act as museum artifacts, and the architecture of our exhibition is also conceived in this style. The artifacts will added QR codes, which take over the function of “labels” for works, similar to what is the case in museums. After displaying the QR code, however, a caption does not appear, but a link to an animation that works with the visual morphology of a particular artifact. Animation acts at first as games (literally referring to them somewhere – tetris), but over time their original meaning, transformation, or more general context to the ideas of modernism that they mediate begins to appear.
Shapeshift, OFF/FORMAT gallery, join exhibition,with Andrea Uváčiková, Brno, 2019
The main theme of Andrea Uváčiková and Zuzana Bartošová‘s project SHAPESHIFT is dealing with object, its representation and remediation. Artefacts created directly for the OFF/FORMAT’s gallery exhibition follow and influence each other. The initial prints are made with the techniques of drypoint, serigraphic drawing and prints of objects in whose Andrea Uváčiková explores possibilities of displaying objects in the space so that its spaciness is suppressed. Zuzana Bartošová then follows and transforms them back into 3D form (after they were being shifted into digitized form) into minimalist objects. The tools determine even the size and colours of segments, of whose the objects are made of. Despite of input of the same data, by using 3 different printers there are slight differences in the segments.
Another medium used are photograms and prints. In their “laboratory discoveries” the authors used finished products – either as matrix for print or by exposure to photo paper. In these approached they use again the attempt of object reconstruction, now by using 2D media.
TXT.5.0, realization in open space, Cuckoo 8, life is elsewhere, in cooperation with Andrea Uváčiková, Ostrava, 2019
The txt.5.0 project consists of a set of five words printed in 3-D using water-soluble material which are placed in public spaces in Ostrava. Text has always been associated with the dissemination of information and it is a basic means of communication. Texts were mediated via print, because it was through this medium that information was most easily disseminated. However, in the “liquid times”, as Zygmunt Bauman calls the present day, such information fades away, and texts and images become fluid, incomprehensible, just like life itself, which is here but also elsewhere. The words chosen by the artists associatively relate to the environment where they are placed. Taken together, however, they also imply a more general message about our lives, but only for a while, until they are lost in the flow of time (and water). The individual writings are accompanied by leaflets on which the text objects are imprinted from four illegible sides, thus freely referring to the abstract language of modernist works, while reminding the origin of contemporary fluid reality in the modernist pressure for innovation and in putting the new above the essential. Tomáš Knoflíček, curator
Separation, realization of sculptural group on the thirty years anniversary of the fall of the Iron Curtain, Mikulov, freedom trail, 2019
The Sculpture Separation is composed of two parts, which evoke in us a feeling of tension due to imaginary materials that would fit into each other when they are joined, even though they are so far apart that their connection is impossible. Separation is located near the town of Mikulov and the place where the Iron Curtain led. The sculpture was launched on the thirtieth anniversary of the fall of the Iron Curtains, as a reminder of everything and everyone who was separated by the regime. The path that leads through the sculptural group can be understood as the intersection of this tension, which would create a system and a person walking along the path, so that he can directly confront the sculptural group. Lime and ash trunks 3 meters high are minimally machined with geometric notches and the surface trunks in the case of linden are roughly cut with a chisel, in contrast to the ash trunk, which is ground to a smooth finish. The sculptures also show another drawing of wood, which is left in its raw form. Despite this diversity of the two halves of the tribes and the distance between them, we see that the statues belong together.
Sculptures for the garden X, realization in the Podzámecká garden, Kroměříž, 2019
The circulation follows a series with the same name, which tries to solve the problem of constantly recurring cycles. This theme is also reflected in these objects, which are partially automatically generated by the computer. These three representatives of never-ending shapes (circle, figure eight and loop) are automatically rotated by rods that hold the shape itself and that rotate in an imaginary spiral located inside. The whole installation encounters transience and a constant cycle around us. It also deals with the issue of the absence of materiality and its importance (insignificance) in contemporary art. The 3D printing technique is used as a sculptor’s tool, which uses it to facilitate the work, but at the same time it is limited by its possibilities and tests its boundaries. The PVA material is destined to perish during normal printing and serves only as a support material and is intentionally selected and used for the production of sculptures, but due to its properties in reaction with moisture and water it is predestined to perish. Hours of work on the buildings are thus irreversibly destroyed by the environment of the Long Pond itself. The gradual dissolution of objects under the impact of drops of water and their subsequent disappearance is a reflection on the very need of man to leave a trace, which, however, often disappears over time.
The individual objects are printed on a 3D printer from a soluble PVA filament, which in normal printing is used only as a water-soluble support for the 3D printing.
