Curator’s text:
One of the first of the parallel worlds that have occupied corners of our bedrooms and minds is the world of fairytales. In our fantasy landscape its opening sentences, familiar to all, and its (mostly) happy endings are like laughing gas: they lend colour to horrific monsters, lovely princesses and courageous knights, all in their proper hues. The narrative schemas and traditional values of fairytales often become, unobtrusively, a compass for socialisation, which is sublimated in other areas of our life. One of the fields where the happy-end has notoriously swallowed everything whole is the myth of romantic destined love, kept alive to this day by various pop culture genres. Love, for which the thorny path full of obstacles is the most interesting one, and its summit is actually the end of its illusion.
Not long ago Margaréta Petržalová got married. She has experienced her fairytale ending, which was simultaneously the beginning of her attachment to fairytales as a genre. She paints them with her own elemental energy and vigour. Margaréta had begun to draw scenes and their figures more descriptively, or just simply to sketch them freely. Extravagantly she ramifies them in fantastical ornaments, inscribing details in the structure of surfaces and materials. Everything is designed to the measure of the given fairytale, and nevertheless in some way changes and denies it. Margaréta is not interested in climactic scenes from a specific literary work; in her art she principally chooses female figures. As she presents them, the heroine is still always enchantingly beautiful and apparently perfect, but at the same time brazenly self-confident. Is she, however, truly the main character in her own story, which she holds in her own hands, or is she merely a decorative feature torn from the original story? In full awareness Margaréta coquettes with kitsch, which permits her to express her exuberant and bold affinity not only with the theme but also with elaborate clothing and luxurious interiors. The princesses’ clothes are grandly airy, and instead of anchoring the character in a definite time and social layer, they reflect the painter’s gifts for conveying a specific atmosphere. Her gingerbread cottages look extra spicy and grow to dimensions that swallow the entire pictorial surface.
Even the most classic fairytales are currently being clothed in new garments, which revise certain of their rooted stereotypical viewpoints and narratives. Still, however, they disclose the timeless need to tell the stories of those characters in whom the greatest number of people have a chance to find themselves. What qualities would she have or he, the heroine or hero of your story?
Margaréta Petržalová (*1993)
Graduated in the discipline of painting at the Academy of Fine Arts and Design (VŠVU), under the guidance of Prof. Ivan Csudai. The centre of activity in her paintings is always the human being. She works almost exclusively with a live model, with whom she replaces authorities thrust upon us, whom we do not know. During her studies Petržalová worked with themes affecting her generation, within which she moves in both real and virtual forms. Currently she is working with autobiographical motifs. These paintings were produced directly for the exhibition. Her conception of the stereotype of a different flower-woman suppresses her natural aggression, so typical rather of men; in flowers women vanish, while at the same time, in their delicacy is their strength.
Organizátor: DOT. Contemporary / Jurkovičová tepláreň, Bottová 1 / Bratislava
Otváracie hodiny: Pondelok – Sobota / 12:00 – 19:00, Nedeľa / 12:00 – 18:00
Riaditeľka: Zuzana Danková / dankova@dotgallery.sk / +421 948 663 007
Dominika Bolgáčová / info@dotgallery.sk
02. 2022, Bratislava.
Make it nonchalant
SK
Prekvapivo konzistentná tvorba Margaréty Petržalovej púta pozornosť organicky divokými maliarskymi výjavmi zobrazujúcimi banálne momenty a neprikrášlené záchvevy reality, koketujúce s lacnou krásou a vedomým premýšľaním o gýči. Keď hovorím o prekvapivosti, reagujem na skorú umeleckú vyzretosť a koherentný autorský program, ktorý u Petržalovej prekvital a výrazne zaujal už počas jej štúdia na Vysokej škole výtvarných umení v Bratislave, pričom zotrváva aj po jeho absolvovaní. Prirodzený charakter originálneho maliarskeho gesta autorka primárne rozvíja vo figurálnych kompozíciách, vymývajúcich sa do takmer nekonkrétnych až abstrahujúcich foriem, ktoré podnecujú snovú atmosféru kombinujúcu reálne spomienky s fantáziou. Jej maliarsky svet je výsledkom prirodzeného spojenia vizuálneho exotizmu, nespútanej expresie, historizujúceho symbolizmu a osobnej mytológie v kontraste s prežitou realitou či príbehmi z jej okolia. Na tenkej hranici s gýčom napodobňuje drahé materiály, premýšľa o kráse, zaujímajú ju dekorácie a je fascinovaná ornamentom. Výsledkom je neočakávaná alternatíva ku komerčnej estetike, ústiaca do pochmúrnej nálady bez výrazných vizuálnych odkazov na súčasnosť. Osobitá atmosféra vzniká z nelogického používania intenzívnych farieb, ktoré nereflektujú realitu, no pomáhajú psychologizácii (často neforemných a neohrabaných) postáv. Tie sú výsledkom textúr, dynamického maliarskeho gesta, rozriedených, rozpitých farieb a absentujúcich detailov.
Koncepciu samostatnej výstavy Make it Nonchalant autorka postavila na dielach, ktoré vytvorila primárne počas minulého roka, pre väčšinu z nás veľmi náročného, komplikovaného a limitujúceho. Možno aj preto sa zamerala na témy, ako sú imaginácia, rozvoj osobnej fantázie, únik z reality, hra s vlastnou identitou či napodobňovaním (predmetov, materiálov, spoločenského postavenia a i.). Selekciu diel vo výstavnom environmente okrem expresívnej akrylovej maľby a kresby dopĺňa priestorovou inštaláciou – objektmi či recyklovaným nábytkom, ktoré sa postupne predierajú do autorkinho umeleckého programu.
Na komunikáciu hlavnej tematickej línie projektu používa prisvojený motív páva, ktorý vníma ako symbol krásy, vznešenosti či nesmrteľnosti. Spoločne so ženskými hrdinkami (zvyčajne vo forme alegorického autoportrétu) páva stavia do centra obrazov, prípadne ho necháva splynúť s ostatnými ornamentmi. Príťažlivosť pávieho peria často symbolizuje bohatstvo, ktoré je však zároveň úzko prepojené s lacným gýčom a hraním sa na luxus. Tento hraničný moment medzi blahobytom a potenciálnou chudobou autorka sleduje formou zbierania starého nábytku, do ktorého vnáša druhý dych falošnými maliarskymi intarziami. Dekoratívnosť má v jej tvorbe špeciálne miesto – na jednej strane je úprimne fascinovaná výraznou estetikou orientu, prirodzene inklinuje k teatrálnosti a práci s divadelnou kulisou, na druhej strane ju priťahuje nonšalantný DIY charakter a úprimne zabáva imitácia bohatstva lacnými materiálmi, ktoré aspoň na chvíľu a pod tým správnym svetlom pôsobia ako nedostupný luxus. Sympatický pohľad na svet sa zrkadlí aj na maliarskych plátnach, do ktorých formou drobných vizuálnych naratívov vnáša prvky z divadelného sveta (postava parochniarky, motívy tieňohry či masky a i.), pomyselného bohémstva (kúpele, porcelánová pávia misa) a zábavy (skrotenie páva, púšťanie čínskeho draka). Tvorba Margaréty Petržalovej je prirodzene nenútená, avšak spôsob, akým komunikuje príbehy zo svojho vnútorného sveta a blízkeho okolia, sa vrýva pod kožu.
Margaréta Petržalová (*1993, Trnava) v roku 2019 dokončila štúdium vo 4. ateliéri Ivana Csudaia na bratislavskej Vysokej škole výtvarných umení. Má za sebou samostatné výstavy v bratislavských galériách ako ATELIER XIII (2020), Temporary Parapet (2018), Flat Gallery (2018) a participáciu na skupinových projektoch v Schemnitz Gallery (Banská Štiavnica), DOT. Contemporary Art Gallery (Bratislava) či Gloria’s Gallery (New York). V roku 2019 sa stala finalistkou ceny VÚB Maľba roka. Žije a tvorí v Trnave.
Michal Stolárik
EN
The surprisingly consistent work of Margaréta Petržalová attracts attention with organically wild paintings depicting banal moments and unadorned bouts of reality, flirting with cheap beauty and conscious thinking about gossip. When I say surprisingly, I respond to Petržalová’s early artistic maturity and coherent program, which blossomed and provoked interest during her studies at the Academy of Fine Arts and Design in Bratislava and remains consistent even after her graduation. The author primarily develops the natural character of her original painting gesture in figural compositions that are washed out into almost vague and abstract forms, stimulating a dreamy atmosphere that combines real memories with fantasy. Her painting world is the result of a natural combination of visual exoticism, unfettered expression, historical symbolism and personal mythology in contrast with the reality or stories from her surroundings. Petržalová’s work is borderline kitschy, imitating expensive materials, reflecting on beauty, engaged with decorations and showing the author’s fascination with ornaments. The result is an unexpected alternative to commercial aesthetics, creating a gloomy mood without any significant visual references to the present. This unique atmosphere arises from the illogical use of intense colors that do not reflect reality but help to psychologize the depicted characters (often shapeless and clumsy), born from textures, dynamic painting gestures, diluted, blurred colors and absent details.
Petržalová based the concept of her solo exhibition Make it Nonchalant on the works she created primarily during the past year, which was very challenging, complicated, and limiting for most of us. Maybe that’s why she focused on topics such as imagination, the development of personal fantasy, escape from reality, play with one’s own identity or imitation (of objects, materials, social status, etc.). In addition to expressive acrylic paintings and drawings, the selection of works in the exhibition environment is complemented by a spatial installation including objects or recycled furniture, which are gradually finding their place in the author’s artistic program.
To communicate the main theme of the project, Petržalová uses the appropriated subject matter of a peacock, which she perceives as a symbol of beauty, grandeur or immortality. Together with female heroines (usually in the form of an allegorical self-portrait), she places the peacock in the center of the paintings, or lets it merge with other ornaments. The appeal of peacock feathers often symbolizes wealth, which, however, is also closely linked to trumperies and pretentious luxury. The author follows the line between prosperity and poverty through a collection of vintage furniture, which she refreshes with faux (painted) inlays. Decorativeness has a special place in Petržalová’s work – she is sincerely fascinated by the strong aesthetics of the Orient, naturally tends to theatricality and theatrical work on the one hand, while being attracted to nonchalant DIY character and sincerely entertained with the imitation of wealth by cheap materials that look as an unaffordable luxury under the right lights on the other hand. Her jolly way of seeing the world is also reflected on the canvases featuring theatrical elements (the figure of a wigmaker, motifs of a shadow play, mask, etc.), imaginary bohemianism (baths, porcelain peacock bowls) and entertainment (peacock taming, flying a Chinese kite). Margaréta Petržalová’s work is naturally effortless, but the way she communicates stories from her inner world and her immediate surroundings is piercing.
In 2019, Margaréta Petržalová (*1993, Trnava) completed her studies in the 4th studio of Ivan Csudai at the Academy of Fine Arts and Design in Bratislava. She has had solo exhibitions in galleries in Bratislava, including ATELIER XIII (2020), Temporary Parapet (2018), Flat Gallery (2018), and participated in group projects in Schemnitz Gallery (Banská Štiavnica), DOT. Gallery of Contemporary Art (Bratislava) or Gloria’s Gallery (New York). In 2019, she was a finalist in the VÚB Foundation Prize for Painting award. Margaréta Petržalová lives and works in Trnava.
I am back to the future
Výstava Margaréty Petržalovej s názvom I am back to the future prezentovaná v priestoroch showroomu firiem Kabinet a Iluma tematizuje autorkine predstavy o príprave a následnej ceste do kozmu. Séria malieb z prelomu rokov 2020/2021 vznikla po prečítaní knihy Ako žiť vo vesmíre, na ktorú natrafila náhodne, v potravinách. Napokon po nej siahla vedená miernou obavou – čo ak budeme tento manuál naozaj všetci onedlho potrebovať? Kniha odpovedá na časté otázky týkajúce sa cesty do vesmíru, skúma praktické stránky každodenného života mimo Zeme a čitateľa tiež prevádza výcvikom astronautov či medzihviezdnym cestovaním. Petržalová bez okolkov priznáva, že ju mnoho faktov uvedených v danej knihe vydesilo. Po prvotnom šoku sa však začala zaoberať otázkou, čo by v kozmickej rakete robila ona? Život mimo našej planéty dnes už predsa nie je úplne nepredstaviteľný a treba sa na túto prichádzajúcu etapu dejín ľudstva patrične pripraviť…
Cyklus diel Margaréty Petržalovej zachytáva nielen prípravy na odlet v rakete formou veselých hier s ufom s malým synovcom, či tréning bezváhového stavu v lanovke na horách, ale aj samotné „fungovanie” vo vesmírnej lodi – maľovanie obrazov, alebo prečalúnenie kresiel do obľúbenej látky. Dôležitou sa pre ňu zrazu stáva téma samotného priestoru. Autorka v dielach zhmotňuje svoju túžbu robiť to, čo ju napĺňa najviac a robí najlepšie, aj na tom najnepravdepodobnejšom mieste – vo vesmíre. Petržalová vo svojich témach a maliarskom prejave ostáva aj naďalej verná originálnej expresívnej akrylovej maľbe. Figurálne kompozície, postrádajúce detail, zobrazujú banálne neprikrášlené momenty z autorkinho života a prelínajú sa s jej osobnou fantáziou – v tomto prípade – presahujúcou až do science fiction. To všetko na pozadí dekoratívne stvárnených motívov a ornamentov.
Maľby sú na výstave doplnené recyklovaným perinákom, ktorý autorka pomaľovala vesmírnymi motívmi. Objekt perináku zároveň nesie aj hlavné posolstvo, ktoré sa nám Margaréta Petržalová snaží svojou autorskou výstavou pretlmočiť: „Recyklovaním a zodpovedným prístupom k životu sa k odchodu do vesmíru snáď nikdy nedopracujeme.” Pretože ako sama zistila, v rakete by maľovať nemohla, i keď prečalúnenie kresiel by jej možno prešlo…
Text: Darina Ondrušová
LADIES OF THE EASEL’ OPENING
Jenn Dierdorf
Žofia Dubová
Katarína Janečková Walshe
Juliana Mrvová
Natália Okolicsányiová
Margaréta Petržalová
Kris Rac
Sahana Ramakrishnan
Kelsey Shwetz
Curated by Juliana Mrvová
”Nine artists, nine approaches to the question, ‘What does it mean to be a woman and a painter?’, which I asked the Slovak- and New York-based painters when I was preparing the Ladies of the Easel exhibition. I was interested not only in finding out whether we see the role of women and painters differently, but also whether the topic is still relevant and alive today. In their work, the featured nine painters who work in different environments consciously or unconsciously reflect also on the fact that they are women and have to compete with their often more confident male colleagues in the artistic competition. The exhibition came naturally from my desire to connect and create exchange between women and painters I find interesting and inspiring, and whose work I can’t get enough of. I encounter them at exhibitions and vernissages, and I imagine various combinations from their pieces. The exhibition represents just a small part of the work of female painters in Slovakia and a minuscule section of the Brooklyn female scene; yet, it makes me happy to see the diversity of work. The combination of selected artworks therefore led to the creation of a lively and personal exhibition and allowed for a meeting of female painters from such different context, yet many shared questions.” –Juliana Mrvová, Curator
Please join us for an artist talk between 7-8:30pm on Sunday, January 5th, at The Footlight, conveniently located across the street from the gallery at 465 Seneca Avenue; we encourage you to visit the show prior to the conversation. To RSVP and to become member of Gloria’s, please visit our WithFriends page.
