Nekonečný okamih pred mojím koncom
Autorky si kladú existenciálne otázky: Čo by robili, akoby konali, s uvedomením si vlastného konca – smrti? Čo by chceli zmeniť, dokončiť, vidieť? Rozvíjajú myšlienku konca čisto subjektívnym spôsobom.
Pomocou vlastných vizuálnych záznamov a „vcítenia sa do prežívania vybraných literárnych postáv“ sa súčasne pokúšajú vytvoriť akýsi všeobecný postoj na základe dobového spoločenského vedomia a preferovania určitých hodnôt. Markantná je najmä dezilúzia z uvedomenia si toho, že všetko, čo chceli spraviť, prehodnotiť, stihnúť, už nevedia radikálne zmeniť, lebo sa nachádzajú „tesne pred koncom“. Miestami tak môžeme vystopovať romantický konflikt v konaní literárnych hrdinov i jeho rozmanitú vizuálnu podobu v dielach autoriek. Celou výstavou sa tak nesie bolesť(?), melanchólia(?), ticho(?), povrchnosť(?), samota(?), úľava(?) Malej morskej víly, Doriana Graya, Alice v krajine zázrakov, Cathrine Amesburyovej, Esther a Esther Greenwodovej z jednej chvíle „tesne pred koncom(?)“.
- AN INFINITE MOMENT BEFORE MY END00:00:04.938
- 00:00:04.938
- I should start with Esther Greenwood00:00:28.395
- 00:00:28.395
- from The Bell Jar by Sylvia Plath.00:00:32.319
- 00:00:32.319
- She contrasts with Esther from the novel00:00:37.828
- 00:00:37.828
- entitled The Possibility of an Island.00:00:41.666
- 00:00:41.666
- The first book is 30 years older00:00:46.690
- 00:00:46.690
- than the other one.00:00:49.820
- 00:00:49.820
- I am a combination00:00:54.009
- 00:00:54.009
- of the two characters.00:00:56.644
- 00:00:56.644
- I wanted to express the way00:00:59.172
- 00:00:59.172
- they are depicted in the books.00:01:01.909
- 00:01:01.909
- In the first book,00:01:05.275
- 00:01:05.275
- Esther talks in first person,00:01:07.708
- 00:01:07.708
- while in the other book she's described00:01:10.708
- 00:01:10.708
- by a man.00:01:14.465
- 00:01:14.465
- The second woman is ephemeral,00:01:16.979
- 00:01:16.979
- the first one is much deeper.00:01:20.265
- 00:01:20.265
- I wanted to make use of the homely atmosphere00:01:25.759
- 00:01:25.759
- of this gallery.00:01:29.664
- 00:01:29.664
- It's a very intimate space.00:01:32.175
- 00:01:32.175
- My work is not site-specific00:01:35.202
- 00:01:35.202
- but rather window-specific.00:01:37.708
- 00:01:37.708
- I chose one window00:01:40.746
- 00:01:40.746
- into which I placed a situation.00:01:43.230
- 00:01:43.230
- There are two characters:00:01:46.262
- 00:01:46.262
- One is looking out of the window,00:01:48.435
- 00:01:48.435
- observing the other character.00:01:51.206
- 00:01:51.206
- I worked with the character00:01:53.904
- 00:01:53.904
- of Catherine Amesbury from East of Eden00:01:56.868
- 00:01:56.868
- by John Steinbeck.00:02:02.259
- 00:02:02.259
- I liked the fact that she identified herself00:02:03.995
- 00:02:03.995
- with Alice in Wonderland,00:02:07.677
- 00:02:07.677
- just like me when I was a child.00:02:10.379
- 00:02:10.379
- The two characters are contradictory00:02:13.223
- 00:02:13.223
- but they have one thing in common:00:02:16.704
- 00:02:16.704
- the escape to an imaginary reality00:02:20.140
- 00:02:20.140
- from a world they can't cope with.00:02:23.852
- 00:02:23.852
- They look for something intangible,00:02:27.879
- 00:02:27.879
- unreachable,00:02:31.142
- 00:02:31.142
- something that's hard to express in words.00:02:33.330
- 00:02:33.330
- You need to read both books to the end00:02:37.314
- 00:02:37.314
- to be able to understand the characters.00:02:41.805
- 00:02:41.805
- If you just choose some random extracts,00:02:45.115
- 00:02:45.115
- the essence of the characters is lost.00:02:48.342
- 00:02:48.342
- The two characters I worked with00:03:04.106
- 00:03:04.106
- were my first idea.00:03:07.576
- 00:03:07.576
- Their origin is not in literature,00:03:10.316
- 00:03:10.316
- although I'm presenting the books here.00:03:13.283
- 00:03:13.283
- My Little Mermaid was inspired00:03:16.660
- 00:03:16.660
- by the Czech film version of the fairy tale.00:03:19.109
- 00:03:19.109
- I was strongly moved by all the silence00:03:22.909
- 00:03:22.909
- and her self-sacrifice.00:03:26.990
- 00:03:26.990
- I was really moved to tears.00:03:29.758
- 00:03:29.758
- There was an incredible silence00:03:32.809
- 00:03:32.809
- that led me to understand00:03:35.887
- 00:03:35.887
- the way women used to see themselves.00:03:41.037
- 00:03:41.037
- So this was one source.00:03:45.967
- 00:03:45.967
- The other source was Dorian Gray.00:03:48.872
- 00:03:48.872
- Well, not really Dorian Gray00:03:51.174
- 00:03:51.174
- because Dorian Gray was influenced00:03:54.131
- 00:03:54.131
- by Lord Henry whose opinions00:03:56.919
- 00:03:56.919
- are essential to the book.00:03:59.937