Portfolio Category: Exposure

„Podobáš sa na….“ je veta, ktorú počúvame od narodenia a jej ťarcha nás formuje. Čo vlastne znamená, že sa na niekoho podobáme črtami tváre? Že sme jeho verziou? Podoba môže byť súhrn vonkajších znakov, tvarov, foriem, mimiky, gestikulácie, pohybu tela, výzoru či vlastností. Každopádne podobnosť niekomu nám nastavuje zrkadlo, ktoré niekedy nechceme vidieť, ale môže nám veľa o nás povedať. Môže byt istým spôsobom pohľadom do budúcnosti. Podoba je identita preskakujúca naprieč generáciami, rodinami i celkami. Dielo je svojou prvou verziou, spracovaním, ktoré tvorí morfovanie naskenovaných a modifikovaných reálnych podôb autorkinej mamy, otca a sestry.

How do I look? Objectivity is a concept that is increasingly losing its meaning. Self-perception is also just a construct of thoughts. Confronting how others see us is not always pleasant or desirable. Who we are has many forms, perspectives. Searching for the "true face" is pointless, realizing that none of them are completely real. "I model a woman. We have two views, she on herself and I on her. Our eyes will never meet, because each of us sees a different woman.” A realistic bust is also only one of the faces of the depicted, but also of the modeler himself. How does the model look at the result of how someone else sees it? The form of modeling becomes irrelevant, it is a secondary product of what is created – look at a person.

Survival is the term used to denote that aspect of activity that is not directly accessible to other people. It is subjective for everyone, takes place over time and is constantly flowing. We judge what a person is experiencing based on his gestures, facial expressions and speech. The authors ask themselves where are the boundaries of personal psychological processes, between our private and public space, between real and fictional, mental and physical, and how these worlds influence each other, how we mirror them. When creating the work, they are based on theatrical principles, but they model the situation in a reverse way. An intimate story emerges, a fictitious connected identity on the edge of reality.

In uncertain times, the Ministry operates from underground reservoirs on the Yellow Hill. Detach yourself from previous associations and desires. Cases where we are controlled by artificial intelligence no longer belong in the science fiction section. It is actually something that already seems to be in process and has been designed as a by-product of our new presence. The audiovisual installation explores algorithmic control using mixed media including neural networks, audio, video and animation.

https://www.nicholascarn.art/

The shape of the lighting objects refers to the minimalism of the late 1960s, the creation of which was connected with the use of advanced technologies and enabled the newly expanding field of lighting design to become a unique artistic tool. However, the pantyhose redefines it and places it in the context of a digital and virtual world, the extent of which would be difficult for artists of the time to imagine. He spins the question of time in circles – a motif to which he returns again and again. He is fascinated by the shape of the circle with its universal meaning, especially in architecture, where it has been considered the most perfect geometric symbol since antiquity. In the context of the exhibition at Prototype, the circle is understood as a representative of time – past, present and future, and as an imaginary shift from two-dimensional space to three-dimensional space.

https://www.instagram.com/janpancochaa/