Solo exhibition of Slovak artist Lucia Dovičáková.
The author will present herself with a selection of latest works. Apart from paintings, she intensively dedicated her time to watercolours, and the exhibition will feature her latest video. On this occasion, her first catalogue in Slovak and English language is published.
If Lucia Dovičáková was a writer, she would probably feel at her best in genres like tragicomedy, grotesque or satire. Her work is full of humour and irony even in cases, when her themes are essentially serious, and the aim is critical reflection. Humour is a great complice while uncovering the often unpleasant truth, and the author uses it as a strong weapon aiming at her environment, her generation, her sex, and last but not least herself.
The accidence of her paintings, works on paper and videos can be perceived in context of the direction named bad painting by the art history. The author first of all wants to depict a story, an atmosphere, and confronts the viewer with the pictured point. However, her visual language also refers to an attitude towards the medium of painting itself. Dovičáková seeks full-bodied painting rich in emotion, and in order to achieve her goal, she doesn't hesitate to balance on the border of kitsch, she uses hyperboles, and her works are often close to naïve art, caricature or book illustration. She does not resort aestheticism, but she bravely takes risks, when no more than her personal and very autobiographic artistic program is at stake.
The main actors in her works are women. To be the part of the more gentle sex always meant fulfilling some social conventions, how to look and behave according to given norms, and defining oneself against men. Dovičáková doesn't perceive her characters as passive victims of the patriarchal system, but rather lets them act on their behalf or draws attention to their idleness and content with the state of things. She is not permissive to herself or her gender if she suspects that blind following of norms is just a question of convenience. In her latest works, Dovičáková cheerfully reevaluates historic figures and female roles of past centuries as we know them from literature or mythology. With relish she checks the validity of the traditional stereotypes, and her compositions mostly featuring just one heroine uncover the archetypes and the banality of female everyday existence, which is in comparison to the world of men marginalised, and put in question.
text by Gabriela Kisová
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