The selection of art work is linked to reconstruction and deconstruction, in the visual and in idea, typical for their overlapping of frequently contradicting ideas and elements. It responds to the contemporary world (of art), where everything is possible. Creating rules, limits or institutional categories is no longer important or necessary. As a result, glimpses of pop culture, modern relics, digitalization, history, esoteric and personal (pseudo) mythology come naturally together in one place. Intimate stories are camouflaged by a universal language of contemporary art and general topics come across as surprisingly personal. High art contrasts with the intentional use of kitsch, and abstract scenes fight for our attention with figural works; the online world mingles with the physical. The difference between fiction and reality seems negligible. An intricate fabric of micro-worlds alternates with clearly understandable scenes with ambiguous meaning. Try to imagine ideological surrealism without its typical visual pathos. In audio terms, it most resembles trends in deconstructed post-club music, where in one place one hears the mutated voice of Rihanna blended with the well-known chorus of a post-2000 new-metal group. It all happens in a rhythm of reggaeton, where the traditional rhythm section combines with the sounds of teeming chains and clattering blades. Is this artificial, forced chaos or a reflection of today's over-motivated world?
Svetlana Fialová (SK), Pavla Malinová (CZ), Nana Mandl (AT), Titania Seidl (AT), 23. 1. – 1. 3. 2019, White & Weiss Gallery, Bratislava, Slovakia