“Nothing is in the intellect that was not first in the senses”. (John Locke)

Kateřina Vincourová called one of her new work Breath Behind the Wall. She made with plastic castings of torsos and fragments of the human body a strange gapeworm that may resemble a larger version of an unknown microorganism, a skeletal remnant of a prehistoric creature or laboratory mutant derived from biological laboratories. The alarming atmosphere of the scene is highlighted through a plastic fan recessed into the wall, evoking the fading breath of humans and other living beings: as if it had been blowing away the memories of the past or the smell of rotting corpses. Breath Behind the Wall is also a huge kit pointing out the artist’s interest in the shape variability and possibility of folding identical units into new groupings and compositions that seem to imitate the unstoppable flow of ideas, as well as her obsession with the game. As well as a child can assemble from the most ordinary things and from accidentally found trash a new world, Kateřina Vincourová works with banal stuff and objects. Using them she tells micro-stories based on personal and collective history and transforms them into spatial objects and installations.
However lightly, even frivolous at first sight, some of them look, which is also caused by the choice of materials associated with physical intimacy (remnants of clothes, clothes hangers, combs, elastics waistbands), the author rather than in a tangible body is interested in its intangibility. She turns to the “language” of the body – the nonverbal communication communicated (and shared) through gestures, touch and movements that carry the unspoken or unuttered feelings and emotions, and that can be loving, hedonistic, but also painful. At the same time, she is interested in the body in its absence – as an imprint, cast or memory. Vincourová does not only describe our fragile physicality and often usurping relationship between society and culture to our physical substantially, but she also refers to (albeit non-literally) the body threatened, unstable, deprived from liberty or forgotten.
The semantic ambiguity of Kateřina Vincourová’ s work is proved by the exhibition title. The sentence “Whenever you say” does not only refer to a promise of a physical pleasure, no matter how strong association of sexual or erotic devotion for sale it raises. “Whenever you say” can be on one hand understood as an expression of love that fills a man, but on the other hand, it also deprives him of his freedom, as well as an appeal to personal courage – a willingness to change what seems unchangeable. Using the sentence, the author speaks not only to herself but also to viewers and at the end of this sentence anything may be added…

Martina Pachmanová

Here you can express yourself. (*required)