ARTIST PROFILE

Pavlína Hlavsová

  • Czech Republic (b. 1988 in Rožnov pod radhoštěm)
  • Currently in Prague, Czech Republic.
Bunkers - ice

Bunkers - ice

  • 2014

  • objects from Bunkers installation, detail

  • Pavlina hlavsova  20 c2 a9 2014 light fortification bunkry  c5 98op c3 8dky 20(11)
  • Pavlina hlavsova  20 c2 a9 2014 light fortification bunkry  c5 98op c3 8dky 20(12)
  • Pavlina hlavsova  20 c2 a9 2014 light fortification bunkry  c5 98op c3 8dky 20(13)
  • Bunkers Instalation - thumbnail Bunkers - glass - wood - concrete - thumbnail Bunkers - ice - thumbnail

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    THE BUNKERS | 2014

Nicknamed “řopík” after the ŘOP abbreviation for the Directorate of Defense Works, these reinforced concrete structures were built in the 1930’s within the lightweight fortification of Czechoslovakia. The content value of these “invincible” little forts carries the imprint of our past, weighed down by a tragic memory. This specific sophisticated, smart and, in particular, functional type of military architecture was never fully used. It now becomes an inerasable part of our landscapes and forests, naturally growing into them. The fortifications thus gradually create a solid unity – a symbiosis with their respective space, into which they were permanently recorded as certain milestones in the course of time and invincible in face of natural elements. Personally, I am particularly interested in the disruption of the fragile border between their gloomy and oppressively physical seriousness and direct legacy. --------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- A prototype of a řopík/bunker from massive melted glass retains their typical robust density, however in terms of the material it denies their invincibility and unbreakability. The transparent and easily breakable object comes into conflict with a stretched slingshot pointed at it with granite ammunition. That creates a strange “game” and intensity, considering its destruction. Another in the line of depictions is a casting of a bunker made of ice melts within hours and permanently disappears. The classic concrete material was also introduced. But in this case the central portion is elongated, its black space evoking emptiness. The fourth and final iteration that completes the cycle is an object composed of a sophisticatedly folded concertina-like book. Opening it naturally unfurls and erects a miniature version of the military fortification. The contradiction between permanence and wasted function leaves military constructions to their destiny over the course of time. Over the years and decades they gradually fall into oblivion and blend into the silent landscape.