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Dimenzia Y
Dimension y
Event by: Krajská galéria v Prešove
Location: Hlavná 2896/51, Hlavná 51, Prešov
Talks & discussions, Exhibitions
About event
Exhibition: dimensions y
Author: Katarína Balúnová
Curator: Viktória Pardovičová
Vernissage: 6.2.2025 at 17:00 hrs
Exhibition Duration: 6. 2. - 27. 4 . 4. 2025. Site-specific installation works with the idea of re-immagination of utopias in relation to retro futuristic cosmology, memory, but also to the state of the crisis bent today. Through collages of materials, paintings, videos and other objects, the author is moving from intimate memories, stories of deities, through personal mythology and intuition to reminding the needs of humility towards nature and its extraterrestrial components.
Stories about the universe and cosmos can be considered an important part of the development of thinking, art, but also the socio-cultural and political events forming the character of contemporary society. Whether we mention Slovak conceptual art, which has developed since the 1960s and its significant component was leaks into space and cosmology, we review space projects and scientific experiments, arising during the Cold War period or return to space fingerprints in literary sci- Fi and other pop-cultural genres that have been part of adolescence of several generations (Star Trek, Star Wars), we find that interpretation, as well as forms of universe contextualization have many forms that cannot be considered without critical reflection. At the same time, however, they still represent elements of surviving utopias and transcendences that combine mythology, symbolism, metaphors and timelessness, able to function across narratives of human context.
Despite the fact that most utopian perspectives were discredited during historical development and We know them rather than stories of disappointed hope and political errors or clichés, the need for a leak from the rhythm of the present or the search for and creating new (other) worlds that have used to associate with the utopian thinking and the creation of imaginations of symbiotic life is still topical. Our daily reality is in the dimensions of the cumulative war, pandemic, ecological, identity and other crises, bending under the influence of technology, platforms, precarization of work and time or personal intimacy. This condition of contamination is also related to the decomposition of general security and values, but it also forms our subjective worlds, perception or experience of happiness and relaxation. We have the need (necessity) to be in a constant shot and train the ability to resist challenges that we often cannot interpret. After the utopian dreams of the past, which seemed prospects for ideal future (for example, in the field of literary fiction, political programs or in the proposals of urbanism and architecture), the moment comes when the mechanisms of late capitalism teach us to think more in perspectives of dystopic realism. Can the idea of a better, sustainable, though not the perfect world, without the need for an amendment about its aesthetic or emotional toxicity (naivety) or the media constructed mystification?
Somewhere among uncertain ideas about who we have-we can be, we have to be, how to approach the accumulating crises, but also the dream, currently shaped by saturation and unrest, asking for escape (utopia), no At the same time, Katarína Balún's turning to the need to think about the extraterrestrial world, as a separate form of utopia that confronts the past, present and future, is not explicitly admitting destruction (dystopia), which often cannot be explicitly distinguished. It reserves the dimension of his being and reflections on the universe, which is symbolic and mythical, but also metaphorically resembles relationships, made up of the ideal approaches of man to entities, materials or potential space between planets, stories, ideas, history and science.
The author is based on a perspective that attributes utopia to some form of ambivalence and advocates it into the environment of the present criticism, finding alternatives in the future and references to the context of the past. This interpretation works in the subjective space -time environment - an exhibition where the space of interaction of works in several media is created. The central point of the installation becomes images that use recycled canvases and typical layering of meanings for the author. The space travelers series with reference to the older Three Faces project presents stories and intergalactic links that add symbolism of shapes, lines and colors. These can be reminiscent of retro futuristic glossy surfaces, but also refer to the trajectories of cosmic bodies connected in new compositions and dialogues. Through collages of materials, paintings, videos and other objects, the author moves from intimate memories, referring to traditional transcendental tendencies of religions, through personal mythology and intuition to the reminder of the needs of humility towards nature and its extraterrestrial components.
The dimension is a galaxy of myths, it is the space -time of Katarína Balúnová and its story about microsme and macrocosm, but also by utopia without established rules, time frameworks and proclamations of unambiguous truths and philosophies (borders). We meet with the world that we can identify with, just as we can identify with a specific generation, but we can also condemn it or not accept it. I enter here as an observer, traveler and interci -emersional researcher, opening discourse of need to create similar moments to safe zones, allowing leaks from the network of conditions and addictions or as places that encourage the reconstruction , as more and more worn and valuable quantities. It draws on historical narratives and literary stories. It works in a wide range of media, such as painting, installations, performance, video and poetry, pointing to contemporary topics and problematic aspects of crisis in society or recontecting the original meanings of symbols and traditions. Her projects are presented in both domestic and international context including 6th International Biennal of Art in Beijing, something ELSE OFF Biennale Cairo 2023, Kunsthalle Finland, Ely Center of Contemporary Art US Contemporary Art Museum Spain, Mark Rothko Art Center Latvia, Dafen Art Museum Shenzhen, National Museum of Egyptian Civilization and others.
In the years 2020 - 2021 she studied at the Institute of Fine Arts of the University of Jan Kochanowski in Kielce, Poland and in 2022 successfully completed post -Detoral research at the Academy of Fine Arts in Prague. She also completed her doctoral studies at the Academy of Arts in Banská Bystrica (2019), where she is currently working as an assistant professional. From 2004 to 2010 she studied at the Faculty of Arts of the Technical University of Košice and at Accademia di Belle Arti, L'Aquila, Italy. In 2013, she became the finalist of the Modesque Painting Contest contest of the New Era Art Foundation Foundation in Warsaw, Poland. In 2014, she was the finalist of the Nolab Art Contest competition in Italy and the painting of the VUB Foundation and in 2019 she won the Martin Benka Award from the Fund of Fine Arts of the Slovak Republic.
Author: Katarína Balúnová
Curator: Viktória Pardovičová
Vernissage: 6.2.2025 at 17:00 hrs
Exhibition Duration: 6. 2. - 27. 4 . 4. 2025. Site-specific installation works with the idea of re-immagination of utopias in relation to retro futuristic cosmology, memory, but also to the state of the crisis bent today. Through collages of materials, paintings, videos and other objects, the author is moving from intimate memories, stories of deities, through personal mythology and intuition to reminding the needs of humility towards nature and its extraterrestrial components.
Stories about the universe and cosmos can be considered an important part of the development of thinking, art, but also the socio-cultural and political events forming the character of contemporary society. Whether we mention Slovak conceptual art, which has developed since the 1960s and its significant component was leaks into space and cosmology, we review space projects and scientific experiments, arising during the Cold War period or return to space fingerprints in literary sci- Fi and other pop-cultural genres that have been part of adolescence of several generations (Star Trek, Star Wars), we find that interpretation, as well as forms of universe contextualization have many forms that cannot be considered without critical reflection. At the same time, however, they still represent elements of surviving utopias and transcendences that combine mythology, symbolism, metaphors and timelessness, able to function across narratives of human context.
Despite the fact that most utopian perspectives were discredited during historical development and We know them rather than stories of disappointed hope and political errors or clichés, the need for a leak from the rhythm of the present or the search for and creating new (other) worlds that have used to associate with the utopian thinking and the creation of imaginations of symbiotic life is still topical. Our daily reality is in the dimensions of the cumulative war, pandemic, ecological, identity and other crises, bending under the influence of technology, platforms, precarization of work and time or personal intimacy. This condition of contamination is also related to the decomposition of general security and values, but it also forms our subjective worlds, perception or experience of happiness and relaxation. We have the need (necessity) to be in a constant shot and train the ability to resist challenges that we often cannot interpret. After the utopian dreams of the past, which seemed prospects for ideal future (for example, in the field of literary fiction, political programs or in the proposals of urbanism and architecture), the moment comes when the mechanisms of late capitalism teach us to think more in perspectives of dystopic realism. Can the idea of a better, sustainable, though not the perfect world, without the need for an amendment about its aesthetic or emotional toxicity (naivety) or the media constructed mystification?
Somewhere among uncertain ideas about who we have-we can be, we have to be, how to approach the accumulating crises, but also the dream, currently shaped by saturation and unrest, asking for escape (utopia), no At the same time, Katarína Balún's turning to the need to think about the extraterrestrial world, as a separate form of utopia that confronts the past, present and future, is not explicitly admitting destruction (dystopia), which often cannot be explicitly distinguished. It reserves the dimension of his being and reflections on the universe, which is symbolic and mythical, but also metaphorically resembles relationships, made up of the ideal approaches of man to entities, materials or potential space between planets, stories, ideas, history and science.
The author is based on a perspective that attributes utopia to some form of ambivalence and advocates it into the environment of the present criticism, finding alternatives in the future and references to the context of the past. This interpretation works in the subjective space -time environment - an exhibition where the space of interaction of works in several media is created. The central point of the installation becomes images that use recycled canvases and typical layering of meanings for the author. The space travelers series with reference to the older Three Faces project presents stories and intergalactic links that add symbolism of shapes, lines and colors. These can be reminiscent of retro futuristic glossy surfaces, but also refer to the trajectories of cosmic bodies connected in new compositions and dialogues. Through collages of materials, paintings, videos and other objects, the author moves from intimate memories, referring to traditional transcendental tendencies of religions, through personal mythology and intuition to the reminder of the needs of humility towards nature and its extraterrestrial components.
The dimension is a galaxy of myths, it is the space -time of Katarína Balúnová and its story about microsme and macrocosm, but also by utopia without established rules, time frameworks and proclamations of unambiguous truths and philosophies (borders). We meet with the world that we can identify with, just as we can identify with a specific generation, but we can also condemn it or not accept it. I enter here as an observer, traveler and interci -emersional researcher, opening discourse of need to create similar moments to safe zones, allowing leaks from the network of conditions and addictions or as places that encourage the reconstruction , as more and more worn and valuable quantities. It draws on historical narratives and literary stories. It works in a wide range of media, such as painting, installations, performance, video and poetry, pointing to contemporary topics and problematic aspects of crisis in society or recontecting the original meanings of symbols and traditions. Her projects are presented in both domestic and international context including 6th International Biennal of Art in Beijing, something ELSE OFF Biennale Cairo 2023, Kunsthalle Finland, Ely Center of Contemporary Art US Contemporary Art Museum Spain, Mark Rothko Art Center Latvia, Dafen Art Museum Shenzhen, National Museum of Egyptian Civilization and others.
In the years 2020 - 2021 she studied at the Institute of Fine Arts of the University of Jan Kochanowski in Kielce, Poland and in 2022 successfully completed post -Detoral research at the Academy of Fine Arts in Prague. She also completed her doctoral studies at the Academy of Arts in Banská Bystrica (2019), where she is currently working as an assistant professional. From 2004 to 2010 she studied at the Faculty of Arts of the Technical University of Košice and at Accademia di Belle Arti, L'Aquila, Italy. In 2013, she became the finalist of the Modesque Painting Contest contest of the New Era Art Foundation Foundation in Warsaw, Poland. In 2014, she was the finalist of the Nolab Art Contest competition in Italy and the painting of the VUB Foundation and in 2019 she won the Martin Benka Award from the Fund of Fine Arts of the Slovak Republic.