Rehabilitation. Patrícia Bačenková, Martin Jurík
We cordially invite you to the exhibition opening of Patrícia Bačenková and Martin Jurík in the Synagogue in Stupava.
Synagogue in Stupava
Hlavná, 900 31
Opening: October 22, 2022 at 6 p.m.
Curator: Palo Macho
(Text of the curator can be found on the right)
The main subject of research in our project is the borderline relationship between the living and the inanimate - the relationship between man and the matter that surrounds him. Such a relationship can be observed using the basic cognitive processes with which the installation works directly. We exclude the processes from their standard use, or we draw attention to the power and influence of natural perception - from automatic to conscious. We also talk about his possible manipulation, predicted reaction and a kind of physical mind mapping.
Martin Jurík's series of objects directly refers to individual processes, while Patrícia Bačenková's solitary object functions as a mediator between the viewer and the space. We both deal with a general view of the world based on our own subjectivity. We are trying to outline the possibility of a broader vision as such or an imaginary transition from understanding to seeing. However, the starting points of both authors are different. Bačenková amplifies the principles of light intensity, while Jurík works with light reduction.
Both projects are based on topics directly related to the synagogue, its historical and spiritual value. To a certain extent, the synagogue building thus becomes for us a kind of space of synthesis - which itself is a form of climax in our project - a space that has come to terms with itself.
Patrícia Bačenková:
I create a space of variable situation in one installation consisting of three parts. Individual parts are equal and complement each other. It features a person/observer, a glass object and the space of the synagogue. Together they form an autonomous installation. I work with the relationship of the living form to the inanimate. I observe this relationship, just like the viewer, using cognitive functions - based on perception, analysis and synthesis. An object is a tool that makes it possible to more directly realize where and in what situation we are. We are directed to look UP. When you raise your head, you respond to the question. He stands alone in front of her and looks for his own answer in her. There is a change from non-living to living. I create a living situation in an inanimate space. I work with the principle of light phenomena or light as such. By reflection, optical play on the surface of the glass, I create a form of visual echo of the space and the viewer. From looking down, it guides us to look up, and from looking down, it guides us to look towards ourselves - I create traffic nodes. These relationships change and are defined by the movement of man, light, time. Such a change of view changes the optical phenomena both inside the glass and outside it. The situation can thus change. The installation is a point where the relationship between man and matter is multiplied. It is a point of confrontation between the observer - the thesis and the space - the synthesis. I am creating a trinity of flow paths, a line of relationships.
Martin Jurík:
I observe the principles of installation on the temporary insulation of buildings. The glass wool pressed between two windows in this case suppresses the most elementary function of the window as a portal. The window becomes opaque. Human intervention - turnover, or I further process its perceptually obtained data. In the analytical part, I select the space between two windows, which represents the boundary definition of the glass wool. I subsequently make this boundary wall transparent. I extract the essence of a specific situation, which creates a space for observing the pure relationship of materials. Despite the chemically identical composition, I perceive them as opposites. They differ in terms of form and meaning. They thus become objects, as if spit out from the context into the space. In the last step, I strip the mass of its natural volume through the building process. By melting, I transform the mass back into a surface. Only a surface trace remains of it as a record of its previous physical existence. This process does not confirm the original status quo. It forms a kind of final reconciliation - synthesis. I observe such a principle of synthesis in the synagogue building itself. For me it is a symbol of reconciliation.
Creation and realisation of the works supported using public funding by Slovak Art Council.
