Fastrová Pošová

  • Czech Republic (b. 1985 in Prague)
  • Currently in PRAGUE, Czech Republic.
  • Barbora Fastrová and Johana Pošová have worked together since 2014. Their work isn't specified by any media, but they repeatedly work with “cheap” materials. Strong visuality of each material refers to their interest in nature and the environment.


We are interested in places where man has no control over nature, and we are inspired by humility of its people. In our work we thematize the contrast between two worlds. The controlling and the coalescing. We find interesting the phenomenon of artificial environments with exotic fauna/flora or the spiritual, magical connection to nature, life and body which in the past wasn't tolerated by western society. We deal with those topics on personal level as an individuals struggling with burden of our society's past and present. In our work we raise up serious questions in less serious appearance.

Our varied projects and large scale of approaches to art is caused by never dying enthusiasm for experiment and boredom of repetition, but you can still find visible patterns in our practice.

During our almost five years lasting collaboration we slowly moved from only static installations to more performative works as we felt a need to be parts and pieces of the installations.

Even though we rarely use non-eco friendly materials, lately we've been concerned about using and buying new materials in general. We are experimenting with a new approach (manifesto) for our upcoming show. We set ourselves several simple rules. Such as not using any power except human power for creating the artworks as well as exhibiting them. We are also using only second hand materials and regulating the advertising of the show.


Love, Sex and Torment

In a text for the e-flux Journal # 55) Chus Martinez calls art "The Octopus in Love". The undersea creature`s perception, which is often shaped by mythical interpretations, can be seen as a representation of the unknown while simultaneously making us reminiscence of a short summer trip to the seaside and the inevitable craving for a plate of seafood - in a way this field of tension illustrates precisely the ambition of the joint venture of Bára Fastrová and Johana Pošová. The octopus is the only known creature whose brain is located to a large portion in its eight long shoulders, transforming its limbs basically into sensitive thinking tentacles. Without the central nervous system, thoughts and senses are stratified into interconnected parts of a single body.

Fastrova and Posova have chosen to name their joint presentation platform Life finds a way - iconic catch phrase from the 90`s classic Jurassic Park and originally proclaimed by theory of chaos supporter Malcolm. The century-old question of what "life" can actually be, defines the artist's practice. Life is an octopus in love, and art then forms one of the suckers on her all-embracing tentacles. Life as nature, as culture, as technology, as social exchange. Eventually becoming all-encompassing - without mantinels and hierarchical barriers, as common sense and thinking matrix. In a similar way, the individual practices of both artists are linked to a wide-spread media field covering photography, sculpture, moving images, installation and participative performance.

The search for the state of our society on the assumption that everything has a common starting point in nature is mixed with the state of a generation full of anxieties at the turn of the digital and analogue age. Although Fastrova’s and Posova’s existence has not been shaped from a very early childhood by touching the smooth surface of the display, they are aware and analyze at every step the possibilities of transforming the globally interconnected Western colonial drive engine of the market economy, turning its back in exaggeration to the blurry accents of personal self-reflection and direct relationships between individuals outside the detached digital field. Maybe therefore they decide to go for possibly banal and crafty techniques, seemingly right out of elemantary school art lessons or a youtube tutorial for creative teenagers. Papier-mâché and silly-looking ceramics ultimately find their complementary counterparts in the use of digital post-produced videos, erotic rituals, or common listening to the natural clock of human hearts.

The octopus, which for Fastrova and Posova covers many of humanities big questions, at the same time it amalgamates subtle and delicate details that have always been essential to the separate works of both artists into one coherent consciousness.

Jen Kratochvíl