Alexandra Barth (1989, Malacky, Slovakia)
lives and works in Zohor, SK and Sanguinetto-VR, IT
2007 – 2013 Academy of fine arts and design Bratislava, dpt. of painting (M.A.)
2022 The door hinge, A SUD, Pescara 2022 Mechanical bath, Stone projects, Prague 2021 Od istého bodu, Phoinix, Bratislava 2021 Scenography, Chris Sharp, Los Angeles 2021 Meno domu, Photoport, Bratislava 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
2022 The Bright Side of the Moon, Annarumma, Naples, IT
2021 The dreams in which I'm _ are the best I've ever had, Mauve, Vienna
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
2010 Art now, Kasárne/Kulturpark, Košice
2019 Co-organiser of PGW – Petržalka Gallery Weekend
2017 – 2020 Founder and curator of Temporary Parapet – artist-run gallery in Bratislava-Petržalka
2020 VARP – FKSE Budapest
2021 Strabag Artaward – Jury preselection
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.