Photography has become an intimate form of thinking for him. He realizes his most personal themes through it, outside the realm of institutions. Despite the differences in media, his visual language remains distinctly minimalist.
EXHIBITIONS
VERGESSLICHKEIT
16.04. 2025 - 31. 05. 2025
Galerie Fotografic, Praha, CZ
VERGESSLICHKEIT
06/2025
SEDF Bratislava
PAST
BORDERS OF UNCERTAINTY / Ilková, Jackuliaková, Lukačovičová, Kudláč/
09. 02.2024 - 31. 03. 2024
Consulate General of the Slovak Republic, Brussels, Belgium
ACTORS AND NON-ACTORS / Blažo, Kudláč, Tittel/
26. 01. 2024 -25. 02. 2024
Phoenix Gallery Bratislava
SCHADENFREUDE / Báchorík, Blažo, Feriancová, Ilková, Jackuliaková, Kekeli, Kudláč, Lukačovičová, Rosmány, Vongrej, Tittel/
08.09. 2023 - 28.09. 2023
Arte Misia, Banská Štiavnica
IN PIECES. FRAGMENT AND TORSO IN VISUAL ART / Tomečková, Moravčík, Kafka, Tóth, Snopek, Prokop, Piaček, Paštéka, Lacko, Kochan, Kudláč, Trubač, Laubert, Kostka, Jankovič, Masarovičová, Horová, Bartfay, Havrilla, Fadrusz, Havránková, Trizuljak, Tittel, Gavula, Honty, Ferdinandy, Belohradský, Koniarek, Uher
27. 05. 2023 - 28. 04. 2024
Slovak National Gallery - Schaubmarov Mlyn
INCREASING PASSIVE SAFETY
16. 05. 2023 - 15. 06. 2023
Phoenix Gallery Bratislava
OCCURENCE AREA
10. 09.2021 - 07. 10. 2021
PHOTOPORT Bratislava
HIDDEN PROJECTIONS OF REALITY
19. 11. 2019 - 02. 01. 2020
PHOINIX GALLERY Bratislava
PERSONAL TERRITORIES,
12. 09. - 31. 12. 2019
ARTA Piešťany
ELEVATOR / Barth, Blažo, Feriancová, Kudláč, Rosmány, Šebík, Šipöcz, Tittel, Vančo, Vongrej/
05. - 26. 04. 2019
TEMPORARY PARAPET Bratislava
SHOT / Cyril Blažo, András Cséfalvay, Miroslav Csölle, František Demeter, Ľubomír Ďurček, Ján Kekeli, Eduard Kudláč, Marcel Mališ, Rastislav Podhorský, Matej Rosmány, Rastislav Sedlačík, Ján Šebík, Ján Sipocz, Martin Špirec, Milan Tittel, Martin Vongrej/
12. - 27. 12. 2018
PHOTOPORT Bratislava
VISITORS / Bachorík, Blažo, Cséfalvay, Csölle, Ďurček, Kudláč, Mališ, Rosmány, Šipöcz, Tittel, Vongrej/
20. 12. 2017 - 08. 01. 2018
PHOTOPORT Bratislava
WINTER IS COMING / Bicek, Dovičáková, Dúbravský, Fabian, Halás, Hettmer, Hrachovinová, Hreha, Jánošík, Kocka, Kudláč, Lukáč, Machová, Mališ, Malovcová, Petržalová, Podhorský, Sekerášová, Selmeci, Šipöcz, Tittel/
01. 12. 2017 - 05. 01. 2018
TEMPORARY PARAPET Bratislava
DAY OF THE PHOTOGRAPHY / Bachorík, Blažo, Janeček, Kudláč, Rosmány, Tittel/
17. 11. 2017
MOST SNP (former benches) Bratislava
CLOSED SOCIETY / Csölle, Janeček, Kudláč, Rosmány, Tittel/
06. 08. 2017 - 06. 09. 2017
PRFR OC STYLA GALLERY Bratislava
NATURE / Bachorík, Blažo, Csölle, Gavula, Kudláč, Tittel/
02. 05. 2017 - 02. 06. 2017
PHOINIX GALLERY Bratislava
PERSONAL TERRITORIES, 17. 02. - 18. 03. 2017
CENTRE FOR ARTS AND CREATIVITY Bátovce
KUNSTVEREIN SELECTION 2016 / Barth, Belianska, Bicek, Blažo, Fabian, Halás, Hreha, Klepoch, Kochan, Kocka, Kudláč, Jánošík, Malovcová, Ormos, Podhorský, Rosmány, Sedlačík, Sekerášová, Spodniaková, Šipöcz, Tittel/
25. 11. - 27. 11. 2016
PRFR STUDIOS Bratislava
PHOTOPORT 10! (group),
01. 07. - 15. 07. 2016
PHOTOPORT Bratislava
PERSONAL TERRITORIES, 12. 02. - 11. 03. 2016
PLUSMINUSNULA Žilina
PERSONAL TERRITORIES, 30. 10. - 21. 11. 2015
PHOTOPORT Bratislava
LENKA LUKAČOVIČOVÁ:
LONELY PLANET TRNÁVKA
PHOTOGRAPHY BOOK
JÁN KEKELI: PLÁVAJÚCA PODLAHA
31.07.2024 – 01.12.2024
Galéria umelcov Spiša
Spišská Nová Ves
PAST
JANA ILKOVÁ: DIARY. MERANIE VNÚTORNÝCH ZÁCHVEVOV.
30.8.2024 - 30.9.2024
Mestské múzeum Humenné
OKSVOLNES SVOLNES LOVS
Jana Ilková, Dominika Jackuliaková, Lenka Lukačovičová, Michaela Nagyidaiová
Ján Kekeli, Šimon Parec, Robert Tappert
10.5.2024 - 30. 5. 2024
Pistoriho palác, Bratislava
HRANICE NEISTOTY
Jana Ilková- Dominika Jackuliaková- Eduard Kudláč- Lenka Lukačovičová
09.02.2024 – 31.03.2024
Generálny konzulát SR, Brusel, Belgicko.
DOMINIKA JACKULIAKOVÁ: R2
14.12.2023 - 11.2.2024
Mestské múzeum, Lučenec
DOMINIKA JACKULIAKOVÁ: R2
10.11.2023 - 23.12.2023
Nástupište 1-12, (podchod AS Topoľčany)
SCHADENFREUDE
Báchorík, Blažo, Feriancová, Ilková, Jackuliaková, Kekeli, Kudláč, Lukačovičová, Rosmány, Vongrej, Tittel
08.09.2023 - 28.09.2023
Arte Misia, Banská Štiavnica
JANA ILKOVÁ: DIARY. RUTINNÉ OSCILÁCIE.
03.12.2022 - 28.02.2023
Nástupište 1-12, (podchod AS Topoľčany)
ANDREJ BALCO: OSTROV
10.11.2022-09.12.2022
Galéria Karola Kállaya, Bratislava
DOMINIKA JACKULIAKOVÁ: R2
05.11.2022-01-12.2022
Flatgallery, Bratislava
JANA ILKOVÁ – DIARY. SYNTETICKÁ REALITA
16.2.2022 - 24.3.2022
Galéria Photoport, Bratislava
JÁN KEKELI PLÁVAJÚCA PODLAHA
19.11. - 16.12.2021
Galéria Photoport, Bratislava
JANA ILKOVÁ: DIARY. KONCEPT NEOPAKOVATEĽNÉHO (BUDÚCNOSTI). FRAGMENT.
Mesiac fotografie 21
05.11.2021 - 30.11.2021
Slovenský inštitút, Varšava, Poľsko
PRÍRODA Bachorík, Blažo, Csölle, Gavula, Kudláč, Tittel
2. 5. 2017 - 2. 6. 2017
PHOINIX GALLERY Bratislava
BOOKS
JANA ILKOVÁ – DIARY.
Počet strán: 104/ Väzba: tvrdá
EAN: 9788055660882
Jazyk: anglický, slovenský
Dátum vydania: 12. apríla 2023
Vydavateľstvo : Slovart
- Vergesslichkeit (a term often used to express themes of memory, collective amnesia, or the process of coming to terms with history and its losses) is a visual concept that deals with forgetfulness. It explores the gaps and absences in memory, whether individual or collective, and shows how these gaps influence our identity and relationship to reality. The series addresses not only loss as a negative aspect but also as a necessary condition for creativity, transformation, and reinterpretation.
The process of forgetting old patterns, limitations, and stereotypes can open new perspectives and new interpretations. Vergesslichkeit thus takes on various meanings, from reflecting on social and cultural memory to examining individual identity and the impact of transient (ephemeral and unstable) memories on our understanding of ourselves and the world.
- Systems of passive security (external and internal) are intended to minimize the impact of potential accidents. Fear, according to Heidegger, is a mode of one's disposition, and its phenomenon can be investigated from three standpoints -- of that which we are afraid of, of the fear itself, and of that for which we fear. It can take on many forms, even though it always concerns Dasein itself. That which inspired our fear may well have been something commonplace and familiar, yet we got scared by the sudden onset of its immediate proximity. Anxiety on the other hand is very vague. The threat does not have the character of some sort of damage about to be incurred. In a state of anxiety, the world loses its sense of meaning. We do not encounter anything threatening. Anxiety knows no "here" or "there" as a point of origin of some sort of approaching danger. It is characterized by there being no distinct discernible threat present at all. We do not know what makes us feel anxious, because the thing that inspires our anxiety is the world itself. Then, once the anxiety passes, we usually say to ourselves: Well, that was nothing. But what is this nothing?
The set of photographs titled Increasing Passive Security is a documentary recording of the trembling that takes place between the desire to sort, organize, and rationalize and the inescapable fear of the unknown, it is a description of the self-consuming struggle for control, fueled by anxiety.
- The photographic set Occurence area is an inspection of delineated areas. The borderline is the cellular wall which
separates immediate nature from humans and their activities, while it at the same time allows a part of these
human actions to seep into its environments. The project works with results of mutual interaction; not,
however, in the sense of transformation but rather of struggle for positions.
- Does the moon exist only because a mouse is looking at it right now, or
does it not need a spectator (or any other presence or function),
because it is only one of an endless number of others? The fundamental
character of reality is often in complete contradiction of logic or intuition.
Is it necessary for theory to correspond with reality if I do not know what
reality even is? How to handle the metaphor of reality provided its
referential frame (object) is I, constantly changing in the pulsating waves
of thinking? Reality as a whole composed of fragments of images cut
out from a reality model whose creator, spectator, and referential frame
is the author himself.
- When we think of a map, we picture a downsized, generalized image of an area or a territory projected onto a plane based on predefined rules to depict the position, state and relationship between objects and phenomena. The open photographic set Personal Territories is such (or similar) type of map. In contrast to cartographically downsized images of reality, no generalization of the depiction of reality (in the sense of excluding unimportant facts and details) took place here, but rather a manipulative concentration on
a single or several attributes (traces of an intervention) of the documented territory. The traces of human intervention alter the character, relationships or nature of the countryside by taking the place of the main meaning-related standpoint of the transmission. Personal Territories are maps of territories of human interests. The way of looking at an image is
reminiscent of reading a map rather than an insider stroll. The meaning is implied by context more than by experience. Personal Territories are maps of areas of interest wherein people intervened so as to distinguish themselves from the world and other
creatures of their own kind (and possibly others).