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.)

Solo shows

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

Group shows  

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

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.