DKP
Michal Moravčík’s (1974, Bratislava) works are often related to a local context. He applies mainly to a memory, an urban and national context a a life quality. In terms of urban planning he is concerned with nuances of unfinished details, layers of unsolved infrastructures or subsequent simplifications of developers. His critique of nationalism comes out from politically historical context, themes flexibility or changeability of history that are, if required, deformed by a current political propaganda. DKP (an abbreviation for a stock of tiny and short-term objects) further to recent discussions in the Czech republic and Slovakia deals with a problem of art institutions. It represents two memory models of architecture: the academy of arts (Academy of Arts Architecture and Design in Bratislava) and the national gallery (the Slovak National Gallery). Both represent an aesthetic experience of the next generation of artists and general public, the academy controls the future of art and the gallery influences its social significance. The models of DKP are furniture objects, whose structure imitates existing buildings according to a memory. They are imperfect architectonic models the measure of which is derived from the actual buildings just in rough proportions. The standard size of interior furniture becomes an accesible measure for the viewer.
- ARTYČOK.TV presents00:00:01.249
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- Jelení Gallery00:00:04.328
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- The exhibition entitled DKP00:00:17.514
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- consists of two objects00:00:20.751
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- representing a reaction00:00:23.297
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- to institutions that influence the art scene.00:00:25.797
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- The acronym DKP00:00:29.793
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- stands for "non-durable goods" or "inventory".00:00:32.293
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- The title refers to these furniture items.00:00:36.028
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- The two objects00:00:40.396
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- are architectural models of memory.00:00:42.396
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- The storage rack behind me00:00:45.868
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- is a reaction to the current situation00:00:51.209
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- at the Academy of Fine Arts.00:00:54.698
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- The Academy becomes a sort of storage00:00:57.667
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- of art professors.00:01:02.261
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- The object was created in 2006.00:01:04.641
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- It criticizes the fact00:01:08.626
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- that the professors are allowed to stagnate,00:01:10.926
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- to keep their jobs without creating anything.00:01:14.626
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- But the criticism of institutions00:01:18.646
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- is not the main feature of the works,00:01:21.646
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- it's just a side effect.00:01:25.146
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- It's obvious that most of my works00:01:29.913
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- contain a certain amount of criticism00:01:32.913
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- but I don't think that it conflicts00:01:37.454
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- with my path as an artist.00:01:40.954
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- On the contrary, it's all very authentic.00:01:44.940
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- These are memory models,00:01:48.440
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- so they reflect his individual experience.00:01:51.303
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- This object represents the ground plan00:01:54.845
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- of the building where he studied.00:01:58.345
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- Oh God, sorry about that...00:02:02.457
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- The other object also reflects00:02:05.323
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- his own memories of a building.00:02:08.144
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- "The Cross-section through Emptiness"00:02:11.644
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- is a project based on the connecting bridge00:02:15.082
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- at the building00:02:18.555
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- of the Slovak National Gallery00:02:21.055
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- designed by the architect Dedeček.00:02:23.813
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- It's a shame that this unique structure00:02:27.055
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- has been closed for 9 years00:02:30.555
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- and it seems that many people00:02:33.517
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- want to keep it that way.00:02:36.517
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- My work does not criticize individuals00:02:39.371
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- but the current situation.00:02:42.725
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- And the emptiness of the connecting bridge00:02:45.650
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- is an example00:02:54.151
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- of how beautiful architecture dies00:02:56.151
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- and becomes an empty showcase.00:02:59.151
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- Camera, editing00:03:11.344