Alexandra Barth (1989, Malacky, Slovakia)




2007 – 2013      Academy of fine arts and design Bratislava,  dpt. of   painting (M.A.)

Solo exhibitions / selection

2019      Evidence of Absence, Hotdock project space, Bratislava 

2018      Pozoruhodnosti, Žumpa, Bratislava

2018      Stav vecí, Sumec, Bratislava

2017      Pôvodný stav, Temporary Parapet, Bratislava

2017      Poriadok vecí, Kunstverein Bratislava

2015      Pokoj, PRFR studios, Bratislava

Group exhibitions / selection  

2019      The Elevator, Temporary Parapet, Bratislava

2017      MDŽ, White&Weiss, Bratislava

2016      Kunstverein Selection 2016, PRFR Studios, Bratislava

2016      Jej svet, OGV Jihlava, CZ                                              

2014      Diversity required, Slovak National Gallery, Bratislava            

2013      Master’s diploma work, House of Arts, Bratislava

2011      Katzensuppe, SODA, Bratislava

2010      Art now, Kasárne/Kulturpark, Košice


2019       Co-organiser of PGW – Petržalka Gallery Weekend

2017 –     Founder and curator of Temporary Parapet – artist-run gallery in Bratislava-Petržalka

Artist statement

My work is in a broader sense always autobiographical. In 2014 I began a series where I was painting only autoportraits, often in a mytological sense. Slowly the focus shifted to „still life“ – I was observing the things surrounding me and realized that the places a person inhabitates tells a lot about him.  In my recent works I try to capture subjective perception of common, mundane spaces, usually the ones I experience personally on a daily basis. Apartments where I lived, my work place, storage rooms, but recently also urbanistic elements like parking lots, bus-stops, streets with very few or none reference points…   What this locations have in common is they are usually perceived as something not worth attention of their inhabitants, they are taken as something purely utilitarian, not having any aesthetic qualities. In my paintings I try to catch the aesthetic essence of these places – their atmosphere, their inner composition, psychological tension, as if they were stage settings of a movie. I am reducing all the visual means to the neccesary core as I want the viewer to concentrate on the key moments. Not letting them be disturbed by unnecesary visual balast.  I like to supress any „human“ touch to my works, no visible brush strokes, no stains, just clear cuts an recently mostly straight lines. There’s a feeling of detachment, while the composition and color shades is bearing the emotional value. The objects often feel „detached“ or machine-cold, but in the sametime somehow melancholic in their abandonment from any living form.