Retrovizor

Kay Lotte Pommer, Shanee Roe, Eva Yurková

Zavese, kapije, prigradska dvorišta – sve to služi demarkaciji privatnog poseda, i čini se kao da se rastvara u svojoj formi. Ograde su podignute, privatni prostori označeni, javna – tajna mesta su formirana. Granice su zamagljene.

 Kay Lotte Pommer posmatra materijalne stvari koje gradi oko sebe, kreirajući instalaciono okruženje. Familijarna omasovljenost postaje krhka supstanca nečega komplikovanog za raspoznavanje. Ovaj disbalans se reflektuje i u radovima na temu nudizma i plažnog turizma koji istražuje Eva Yurková. Tela su oblikovana, dekonstruisana i dehumanizovana. Ona se pretvaraju u bojenu masu koja kreira okvir – prozor kroz koji treba gledati, čime se posmatrač postavlja u voajersku poziciju. Lov intimnih scena je takođe tendencija u radu Shanee Roe. One kreiraju obris unutrašnjih dinamika u vlažnim, napetim odnosima figura. Od granice tela do zida od kuće, granica grada, ili čak izložbenog prostora.

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Rear Window

Kay Lotte Pommer, Shanee Roe, Eva Yurková

Curtains, fences, suburban gardens – they all serve to demarcate the territory of privacy, which seems to dissolve in its form. Fences are built, private spheres are marked out, public hiding places are created. Boundaries are blurred.

Kay Lotte Pommer observes the material properties she builds around herself, creating an installative environment. Familiar massiveness becomes the fragile substance of something difficult to discern. This imbalance is also reflected in Eva Yurková’s work on nudity and beach tourism. Bodies are shaped, deconstructed and dehumanized. They are transformed into a coloured mass that creates a frame – a window through which to observe. They put the viewer in the position of a voyeur. Haunting scenes of intimacy are also a defining tendency in Shanee Roe’s work. They create a glimpse of interpersonal dynamics in wet, tense scenes between the figures. From the boundary of the body, to the wall of the house, the boundary of the city, or even an exhibition space.