Teleidoscope
The work by Katarína Poliačiková can seem abstract in its formal aspects, yet its meaning is always anchored in the everyday (not only) artistic reality of our time. The use of her own, often intimate sources provides her works with semantic plurality. The harmony between the seemingly abstract world of art and everyday reality opens new thought horizons. The abstract dimension of Poliačiková’s exhibited works is further enhanced by the work of the conceptual artist Jiří Thýn, the guest of the exhibition.
- The exhibition "Teleidoscope" originated00:00:06.744
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- in collaboration with the Czech curator00:00:09.491
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- Markéta Stará and we decided to base00:00:11.311
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- the concept of the exhibition on the00:00:14.586
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- unfinished series of my works where00:00:16.839
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- I deal with interpretations00:00:19.910
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- of works by other authors. So that would00:00:21.719
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- be the main idea. Because of this,00:00:24.104
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- Markéta invited Jiří Thýn00:00:26.840
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- to join this project. He is here00:00:28.626
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- represented by one work, which is00:00:30.508
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- a drawing by light, it is00:00:32.272
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- a reappropration of a work by Tomáš Vaněk00:00:33.740
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- "Particip no. 69". And this decision00:00:37.516
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- was made because there is a sense of00:00:43.152
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- an intimate connection between his way00:00:46.345
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- of working and mine.00:00:48.727
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- Among my works that are00:00:50.522
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- re-interpretations of appropriation00:00:52.970
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- we included works that do not00:00:55.225
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- relate to already existing works but00:00:57.628
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- to found objects like photographs00:01:03.525
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- or situations that take place in reality00:01:06.439
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- and that these objects somehow modify00:01:12.016
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- or make these situations abstract.00:01:16.279
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- "Teleidoscope" was, in the first place,00:01:17.821
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- meant to be a metaphor of a modification00:01:22.097
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- of reality and its shift00:01:26.527
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- but at the same time I think that00:01:29.935
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- important is the moment00:01:31.690
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- when the spectator00:01:33.022
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- takes an intimate perspective -00:01:35.541
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- when you look into a teleideoscope,00:01:37.358
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- it is only you who's looking00:01:38.574
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- and this is present for example00:01:42.076
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- in the work where I deal with a drawing00:01:44.738
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- by Robert Indiana "Love" where00:01:47.507
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- the spectator looks at the picture00:01:52.091
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- through me, that is, I put him in00:01:53.890
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- a certain position or the work "Dasein"00:01:57.518
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- which is a photograph where the central00:02:04.361
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- motive is a stone, white on one side,00:02:06.061
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- black on the other and it is actually00:02:09.278
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- a double photograph - in the upper00:02:12.719
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- picture it is me and the spectator watches00:02:14.535
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- me watching and then he takes my00:02:16.897
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- perspective - he sees the other side.00:02:21.664
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- But the border between black and white00:02:27.111
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- is not present, that is, the border00:02:29.814
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- between the two perspectives.00:02:26.595
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- This is a frequent principle that00:02:33.540
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- appears here.00:02:36.558
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- This photograph is called00:02:52.911
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- "Predestination" which has two00:02:54.375
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- meanings in English: it can be <i>destiny</i>00:02:57.643
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- or some kind of <i>predetermination</i> in00:03:02.598
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- a more general sense. And I found this00:03:05.672
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- photograph in a secondhand bookshop00:03:10.306
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- and there is a handwriting barely visible:00:03:13.064
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- "The bridge I go over on my way to work".00:03:16.579
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- I was intrigued by it and I started to00:03:20.370
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- think about who wrote it and00:03:22.729
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- from where and to where he went00:03:25.727
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- and that's how I got to this line that00:03:28.220
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- traverses this photograph00:03:30.745
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- which for me stands for some kind of00:03:34.482
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- impossibility to grasp the photograph00:03:40.613
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- and its past and at the same time00:03:44.159
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- I placed it on a time line.00:03:46.391
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- It is a moment taken out from00:03:52.016
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- an infinite line.00:03:56.340
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- Thank you.00:04:04.910