ARTIST STATEMENT

TAPETA U WINKLERA

 

vernisáž: 28.3.2015

kurátor: Juraj Gábor

galéria: Priestor_ platfoma súčasného umenia

Lučenec, J.Kármána 2

kordinácia výstavy: Dávid Koronczi

 

Pred mesiacom až dvoma pri prvom stretnutí s maliarkou Erikou Miklóšovou v Bratislave sme sa s Dávidom Koronczim dozvedeli že Erika v meste svojej budúcej výstavy, v Lučenci nikdy nebola, ale študoval tam v rokoch 1962 -1967 jej otec v maďarskej triede, vtedy ešte Priemyselnej školy stavebnej Klementa Gotwalda. Dnes táto "stavebná" nesie meno v odborných kruhoch významného architekta židovského pôvodu Oskara Winklera, ktorého vyučovacie hodiny navštevoval Miklóš Lajoš / Ľudovít Miklóš, maliarkin otec.

 

Pre nás sa stala spomenutá, náhodou objavená a predtým ani len netušená zhoda okolností podnetom na komponovanie výstavy v jej konečnej podobe "Tapeta u Winklera". Názov výstavy je pre znalcov architektúry značným paradoxom, možno nezmyselným konštruktom, či spojením nespojiteľného. Práve pre osvetlenie, súčasne s možnosťou prezerania si inštalácie v galérii či sprostredkovane cez fotografie, naznačím akýsi "rodokmeň výstavy", jej príbeh, ktorý vznikol subjektívnym reťazením radu asociácií nás, tvorcov výstavy.

 

Oskar Winkler (1909 - 1970) je s mestom Lučenec významne spätý. Študoval tu na miestnom gymnáziu a neskôr po štúdiách na Vysokej technickej škole v Prahe sa do mesta vrátil, aby na základe pozitívnych hodnotení jeho školských prác, s dôverou navrhoval a staval progresívne súkromné rodinné domy v duchu aktuálneho medzivojnového funkcionalizmu. Jeho architektonický vývoj prerušila druhá svetová vojna, po ktorej sa podieľal "iba" na výstavbe bežných verejných budov. V tomto čase ale Winkler postavil svoju súkromnú vilu neďaleko mestského parku. Táto výnimočná architektúra sa do nášho príbehu dostala skrz otca Eriky Miklošovej. Toho vila Winklerovcov, ako i ostatných "cezpoľných" maďarských študentov "priemyslovky" ovplyvňovala skrz svojich majiteľov namiesto internátu.

 

Ako nám Erika pri príprave výstavy napísala: "Jednoducho má môj otec na Winklera kopu spomienok. Býval u nich v rodnom dome na priváte, u Eda "néni", ona bola manželka Oskara Winklera. Dokonca rysoval miesto neho „nejaké“ zákazky, ktoré Winkler akceptoval ako náhradu za domáce úlohy“.

 

Erika Miklošová ako maliarka, nepriamo pracuje s niečím čo vypĺňalo dom, domy navrhnuté pre ľudí v Lučenci. Výrazná tapeta je prvkom, ktorý do jazyka funkcionlistickej architektúry nepatrí. Názov odkazuje priamejšie na majiteľa domu, odkazuje možno na krátku návštevu tohto domu, na ktorú Erika sprostredkovane skrz otca nepriamo reaguje, vytvára jej fiktívny obraz. Odkazuje na príbeh ktorý poznáme sprostredkovane, príbeh ktorý sa odohráva v intímnom prostredí. Názov odkazuje na pozadie, zdanlivo nepodstanú dekoráciu, ktorá sa podvedome dostáva do pamäti návštevníkov, alebo obyvatelov domu a môže tak ovplyvňovať ich život...? Tapeta, na ktorú nám uchádza zrak, pri bežných stretnutiach, ktorá je miestom úniku našej pozornosti, rozptyľovačom našich myšlienok... či podvedomím hýbateľom nášho rastu…? Možno práve interiér prostredia, v ktorom Erika vyrastala a maľovala sa dnes v projektoval sem do galérie.

 

Samotná výstava v Lučenci sa skladá z troch častí inštalovaných v jednom prostore, tak aby ukazovali akúsi koláž nadväzujúcich artefaktov. Tie na seba vzájomne odkazujú, vytvárajú protiváhu i súzvuk. Z obdobia kedy vyšie spomínaný otec Eriky Miklóšovej študoval aj u Winklera zákonitosti staviteľstva pochádza na stene štipcami zavesená vizuálne atraktívna rolka rysov, štúdijných technických kresieb na papiery. Ďalšie životné obdobie pána Miklóša je reprezentované výberom piatich pauzákov z jeho projektovej dokumentácie rodinného domu z roku 1982. Ten je jednoduchým prototipom dobovo príznačného domu s plochou strechou, do ktorého sa už narodila aj Erika.

Erikina tvorba zastúpená na výstave (cyklus obrazov: God with us z roku 2012) je zhustená do súvislej obrazovej plochy - tapety, koláže privlastnených obrazov. Ich námety vedome vyberá od majstrov dejín umenia. Abstrahovaním námetu prostredníctvom "mechanickej" autorskej maliarskej reprodučnej techniky sa dostáva do škvrnitej, takmer monochromatickej textury maľby. V portfóliu obrazových východisk sa nachádzajú diela romantického maliara Theodora Gericaulta, Georga Hendrika Breitnera či módnej návrhárky z Viedne Susane Bisowsky, až po textilnú dobovú potlač, ktorá sa nachádzala v každodennej domácnosti.

 

 

Na výstave sa tak v konfrontácii stretávajú typologicky odlišné osobnosti otca Ľudovíta Miklóša v jeho racionalite, triezvosti, účelnosti, čistote z projektov a ego Eriky vyditeľné v maliarskom expresívnom geste, živosti smerujúcej k dekoratívnosti. Ich spojenie vypovedá príbeh o obyvateľke, užívateľke, ktorá má prostredníctvom série obrazov potrebu "zútulňovať obsahom" predpripravený priestor, čisté "prázdne" pole z technického výkresu otcovho projektu.

Miklóšová tu poukazuje na činnosť ženy, jej vlastnej prirodzenosti, potrebe dom zabývať, zaplniť. Nehovorí priamo o tapete. Tapeta tu nesie význam metafory, viac ako konkrétneho predmetu. Je menená, vrstvená, strhávaná, prekrývaná, ako koláž nepretržite plynúcich príbehov obyvateľov domu.

 

Súčasťou vernisáže bola Erikina performence s fotoaparátom, kde autorka prešla poprvýkrát miestami, kde študoval a pobýval jej otec. Túto emocionalitu vyvažovala “suchým” fotením stavieb Winklerových realizácií a následne túto skúsenosť a fascináciu Lučencom a jej architektúrov predávala návštevníkom Galérie.

 

 

 

Analógiou pri tvorbe výstavy bol pre mňa príklad domu postaveného vo Viedni v roku 1928 filozofom Ludwigom Wittgensteinom, ktorý navrhol pre svoju sestru. Dom pri ktorom architekt/filozof nepopustil jeho celkovú skladbu žiadnej náhode, naopak ju zasvätil racionalite, proporčnej precíznosti, materiálovej a farebnej harmonickosti, strohej prísnosti, ktorá sa v 30tych rokoch prejavila vo funkcionalistickej architektúre.

Mňa pri študovaní tohoto diela zaujal hlavne prechod (vzťah) medzi myslením/ stavaním a bývaním. Stavanie zastupoval Ludwig Witgenstein, bývanie ( obývanie) naplnila svojou personalitou jeho sestra Margarethe Stonborough. Architekt, mysliteľ odovzdáva svoje "čisté" prostredie k zabývaniu, " k zaneseniu životom", bez toho aby ho tento život vzhľadom na veľkosť svojho architektonického diela vyrušoval, znekľudňoval, práve naopak, dáva priestoru zmyslel v jeho premenlivosti. Dom tu podľa autorových slov len "oblieka" jeho majiteľku. Tá ho individualizuje skrz svoje telo a ego. Zariaďuje ho podľa osobitého vkusu kde v neutrálnej stavbe, nezávislej od štýlových, období, neprekážajú ani dekoratívne starožitnosti ani moderný nábytok a dobovo progresívne umenie.

 

Ak by som sa vrátil k obsahu Erikiných obrazov tvoriacich na výstave tapetu, to už viac krát spomínané útulno, tak na nich vidíme predovšetkým ženu zasadenú v meštiackej společnosti s jej atribútmi.

 

 Erika Miklóšová

text,kurátor výstavy:Juraj Gábor

April 2015

WALLPAPER AT WINKLER’S

Vernissage: 28.3.2015

Curator: Juraj Gábor

Gallery: Space_ Platform for Contemporary Art

              J.Kármána 2, Lučenec

Exhibition Coordination: Dávid Koronczi

 

 

 

During our very first meeting with artist Erika Miklóšová in Bratislava two months ago together with Dávid Koronczi, we found out that Erika has never visited Lučenec, the location of her next exhibition. But her father studied there. He attended the Hungarian class at the Klement Gotwald Industrial School of Architecture between the years of 1962 -1967.

 

The school was later renamed and today it bears the name of renowned Jewish architect Oskar Winkler. The artist’s father, Miklóš Lajoš/Ľudovít Miklóš, attended some of Winkler’s teaching classes himself. After we’d discovered this coincidence only by chance, it became the main motive for developing the concept of the exhibition called “Wallpaper at Winkler’s”.

 

The name might be seen by architects as a paradox, a meaningless construct or even an oxymoron. Alongside the experience of visiting the gallery or interpreting its photo documentation, it could be interesting for the audience to get a glimpse of how its story began. To explain it a bit better, I will talk about the “genealogy” of this exhibition, about how the story revolved itself around a series of subjective associations of its creators.

 

Oskar Winkler (1909 - 1970) plays a very important role in the history of Lučenec. He studied at high school in Lučenec, and after graduating from the Czech Technical University in Prague, he returned back. And because his university projects gained some recognition, he was entrusted with designing a number of progressive private homes in the city built in the functionalist style that was  so popular between the World Wars.

His promising career as an architect was suddenly interrupted by World War II. After the war was over, he continued working on more “ordinary” public buildings. Somewhere around this time, Winkler built his private villa, not far from the city park. This extraordinary piece of architecture enters our story through Erika Miklóšová’s father. He was one of the many Hungarian students of Klement Gotwald Industrial School of Architecture who were given accommodation in the villa and whose lives were influenced by its owners.

 

Erika wrote to us: “My father has a lot of fond memories of Winkler. He was living in his private home together with Mrs. Eda, wife of Oskar Winkler. He even did some technical drawings for Winkler’s commercial commissions that would then be accepted by Winkler as an alternative to my father’s home works.”

 

As a painter, Erika Miklóšová works indirectly with something that filled not only Winkler’s own house, but also many other houses in Lučenec. The distinctive wallpaper is an element that does not quite fit the functionalism style. The name of the exhibition is a direct link to the villa’s owner, and could also be referring to her father’s short stay there. Erika works with her father’s experiences; she is recreating his visit through its fictional image.

 

She makes a reference to the story that took place in the intimate environment of a home. The name of the exhibition brings up its background; the seemingly insignificant home decoration that sometimes unconsciously becomes a part of owners’ and guest’s memories. Does it have the power to influence their lives…? Our eyes rest upon the wallpaper during regular visits all the time; it becomes an escape for our wandering minds, a backdrop to our scattered thoughts…or maybe even the unconscious source of our personal growth…? Maybe the reflections of every past interior in which Erika grew up and worked on her paintings have projected themselves into the gallery space today.

 

The exhibition in Lučenec is an installation consisting of three separate parts in one single space that create a collage of interlinked artifacts together. They communicate with each other and build juxtaposition and harmony at the same time.

 

A roll of papers with technical drawings dating back to the time when Erika Miklóšová’s father studied architecture under Winkler’s guidance hangs on one of the walls. Another piece from Mr. Miklóš’s life is represented by a selection of five tracing papers with building designs for his own family house, dating back to 1982. The house is a common prototype of a flat roof building, into which Erika was born.

 

Erika’s art works (a series of paintings: God with us, 2012) create compact wallpaper, or a collage of appropriated images. The artist consciously works with motives used by the Old Masters. Her authentic “mechanic” reproductions abstract these motives and she develops a unique painting gesture with spotted, almost monochromatic texture. Amongst the many motives for her paintings, there are works by Romantic painter Theodor Gericault, George Hendrik Breitner, Austrian fashion designer Susane Bisowsky, and even cloth printing patterns commonly used in households at that time.

 

The exhibition is a confrontation of two opposite personalities. On one hand, we have the father, Ľudovít Miklóš, and his rationality, practicality and precisely “clean” technical drawings. On the other hand, Erika’s ego is visible in her expressive painting gestures, its vigorousness and decorativeness. Their combination tells a story about Erika as the inhabitant who is trying to make the predesigned “empty” space from her father’s technical drawings, “inviting and more cozy through the content” from the series of paintings. Miklóšová is pointing to a woman’s nature and activity, her need to fill the house and settle in. She is not focused on the wallpaper. The wallpaper is only a metaphor. It has been changed, layered, ripped down, covered with new pieces; just like the ever-changing stories of the inhabitants of the house.

 

A part of the exhibition opening was the artist’s performance with a camera, during which she visited places, where her father used to live and study, for the first time. The emotion of her journey was well balanced with the decision to take a documentary approach to depicting Winkler’s buildings. The gallery visitors could relive her experience and fascination with Lučenec this way.

 

While preparing the exhibition, I have noticed an analogy with a Viennese house built by philosopher Ludwig Wittgenstein in 1928 that he designed for his sister. The architect and philosopher put a lot of thought in this building, leaving nothing to chance. Everything in its design is dedicated to rationality, precise proportions, harmony of materials and colours – according to strictness so typical for the functionalist architecture dominating 1930s. When I looked closer at this building, I was truly fascinated by the transition (or relationship) between thinking/designing and the actual living in the house. Ludwig Witgenstein represents the thinking, while his sister Margarethe Stonborough’s personality fills the living spaces with life.

 

The architect-thinker is handing over the “clean” environment to have it filled with a “lively mess” by its new inhabitants. He is not worried or disturbed by how people settle in, on the contrary, these transformations give his creations their meaning. According to his own words, the house merely “dresses” its owner. It is his sister who makes it unique through her body and ego. She decorates it according to her taste – and since the building is very neutral and independent from any particular architectural style, her choice of decorative antiques, modern furniture or progressive contemporary art all fit in nicely.

 

When we talk about Erika’s paintings in this exhibition – we see how they form something similar to what wallpapers do as well, the already mentioned coziness. But most of all, we see a woman living in a middle-class society and all its attributes.

 

Text:

Juraj Gábor

Curator

April 2015

Photography: David Koronczi

 

 

 

 

 

 

 

BIOGRAPHY

Name:        Mgr. Art. Erika Miklóšová

Adress:          Kostolná pri Dunaji, Hlavná 81, 903 01(Slovakia)

Date of birth:    19.10. 1984

Contact:  e-mail. erika21miklosov38@gmail.com

Telephone:      00421/  0915 48 48 70

 

Education: 

  2010-2004  Academy of Fine art and Design in Bratislava , Slovakia

            Studio at ±21 prof. Daniel Fischer, Department Painting and other Media

2004- 2000  Secondery school of stage design, Bratislava

 

Intership:

2007 - École supérieure d΄art et design in Saint Etienne in France, Studio at Valérie Orgeret 

      Photo ,  Rémy Hysbergue,  Denis Laget -Drawing and Painting

2006 -  Academy of Drama and Music in Bratislava, Studio at prof.P.Čanecký, Department stage design and costume design

 

Art Nomination:

Finalist VUB Painting2012, 2011, 2010

Finalist ESSL ART AWARD CEE 2011

Finalist Prize for Drawing 2012

 

Scholarship:

2011 Štipendium Radislava Matuštíka, Galéria Mesta Bratislava, SK

 

Selected Group Exhibitions:

2015- White and Weiss , Auction for contemporary Slovak artists, Zoya museum, Bratislava, SK

2014- Up to 999, River Gallery, Bratislava, SK

Dorota CIN CIN ,Bratislava, SK

Winter selection 3, Flatgallery, Bratislava, SK

Brazilian Diary, Blaf,  Festival of conteporary art, Flat Num.6, Bratislava, SK

Pink Landscape, Craftwerk Pieštany, Slovakia

YAS,Dom kultúry, Piešťany, SK

Moscow Young art Biennale, Moscow, RU

Multipoint, SPP, Bratislava,SK

East  Slovak Gallery , When this what is bonding is That Theatre, Košice, SK

 Multipoint, Slovak institut in Warsaw, Poland

Tutti Frutti, New market place, Bratislava, SK

2013 – Multipoint exhibition, Gallery of Orava, SK

Galéria Dunaj, Bratislava

Winter selection, Flatgallery, Bratislava

Gallery Čin Čin, Bratislava

SODA, Christmas bestseller vol. 5, Bratislava

Deepcamp, Hlubina, Ostrava, Czech republic

Art follows you, Auction , AFYGallery, Prague, Czech republic

Multipoint, Staré Divadlo, Nitra, SK

Visual Inspiration & Personal Quests (cyklus výstav), Slovak institut, Moscow, Russia

Visual Inspiration & Personal Quests (cyklus výstav), Riga Art Space, Riga, Latvia

Visual Inspiration & Personal Quests (cyklus výstav), Estonian National library, Tallin, Estonia

Visual Inspiration & Personal Quests (cyklus výstav), Tampere Hall, Helsinky, Finland

2012 - From the Theatre, T-Gallery, Bratislava, Indefinite Scenery , GMAB, Trenčín, SR

2011-   Munich Contempo, Germany; Auction of Contemporary Slovak Art, Bratislava

-The Volta Show, Basel ,Switzerland,

-ESSL ART AWARD, Gallery Medium, Bratislava, Slovakia

-The Armory Show, New York, Booth 1150, Pier 94

-Jahreszeiten, Gallery Gecko, Solingen, Germany, KIC NordArt, Carlshütte, Germany

2010- Artyčok  Art Fair, Prague, Czech Republic,   Slovak National Gallery, VUB Painting

PLUS MINUS  XXI RELOADED,  Central Slovak Gallery, Banská Bystrica

 

Selected Solo Exhibitions:

 

2015 – Wallpaper at Winkler´s house, Space -Platforme for contemporary cilture,     

            Lučenec,SK

2014 -  Femme fatale, Freshmens ´, Bratislava, Slovakia

          KRAJ(INA)-Landscape, Flatgallery, (Martin Kochan, Veronika Šramatyová)   

           Bratislava, Slovakia

2013-  Orlando, Flatgallery, Bratislava, Slovakia

            One look is enough to..., Gallery Čin Čin, Bratislava, SK

2012-  Comfort in Shadows, Eden Domus, Senec, God with us!, Bratislava, SK

2011- „In progress“, Malingrad, Poznań, Poland

          Back to nature, Stipendium Radislava Matuštíka, with Marek Ružinský, Michal Fric, 

          Gallery of the City Bratislava, Slovakia

2010- Going with a Metro to the pasture or from where the wind blows, with Viliam  

          Slaminka, Gallery Bunker, Nitra, Slovakia

2007- What don´t bind us, that makes us stronger,  with Csilla Poláková, Viliam Slaminka,

          Gallery 13m3, Bratislava

 

 

Workshops:

2013- Deepcamp, Hlubina, Vítkovice – Vysoké pece, Ostrava, CZ

2012-Multipoint Nitra, SK

2011- MPRA- Poznań, International artists in residence programe, Poland

2011- International Young Artists´ Fine Arts Colony, Lendava, Slovenia

2010- Project Medzicentrum, BANSKÁ ST ANICA,  Banská Štiavnica

 

Links:

http://artycok.tv/lang/cs-cz/19273/jeden-pohlad-staci%E2%80%A6

http://artycok.tv/lang/cs-cz/7536/essl-art-award-cee-2011-slovakia

http://artycok.tv/lang/cs-cz/4575/diplomove-prace-diploma-works-vsvu

http://artycok.tv/lang/cs-cz/4362/intercentre

http://www.artloop.eu/erika-miklosova&page=1