Bio

Alexandra Barth (1989, Malacky, Slovakia)

email: barthalexandra@gmail.com

IG: https://www.instagram.com/alex.barth/

Education

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

Solo exhibitions / selection

2020      Configurations of the banal (in a dramatic lighting), Phoinix, Bratislava

2020      The Elevator, Fondazione Zimei c/o Urban gallery , Pescara

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  

2020      Like a picture, Photoport, Bratislava

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

Other

2019     Co-organiser of PGW – Petržalka Gallery Weekend

2017 – 2020    Founder and curator of Temporary Parapet – artist-run gallery in Bratislava-Petržalka

Residencies

2020     VARP – FKSE Budapest

Prizes

2021     Strabag Artaward – Jury preselection

Artist statement

My work is in a broader sense always autobiographical. It began in 2014 with a series of self-mythologizing autoportrait paintings, often including some architectonic or interior design atributes. Slowly my attention moved to “figureless” still life – I was observing the things surrounding me and realized that the setting of one’s “habitat” tells a lot about him. The interest in the daily and mundane further led me to see the private spaces in the broader context of housing culture and urbanistic structures.

Despite the usual expectations connected to such subjects, my approach remains very personal, subjective and intuitive. I like to concentrate on aesthetic qualities of space and things – their structural elements, emotional qualities of materials, psychological tension between the parts.

I am reducing all the visual means to the neccesary core as I want the viewer to concentrate on the key moments. I like to supress any human touch to my works, there are no visible brush strokes, the surface is very flat and everything shaped clearly and precisely.   There’s a feeling of detachment, coldness, but in the same time somehow melancholic in their abandonment from any living form. These paintings are in a way photographical or render like. Perceivable as fictional reality, fake architectural sketches. Derived from actual photographs from an actual reality. This “pseudo-objective” process offers perspective on the usual surroundings which are experienced unnoticed, helping to better understand our layouts and the way they are connected to the daily experience.