{"id":21639,"date":"2024-04-04T15:01:06","date_gmt":"2024-04-04T13:01:06","guid":{"rendered":"https:\/\/www.zgjm.sk\/?page_id=21639"},"modified":"2024-04-04T15:11:42","modified_gmt":"2024-04-04T13:11:42","slug":"ingrid-hoffstadter-visnovska-blindness","status":"publish","type":"page","link":"https:\/\/www.zgjm.sk\/en\/exhibitions\/archive-of-exhibitions\/2024-2\/ingrid-hoffstadter-visnovska-blindness\/","title":{"rendered":"Ingrid Hoffst\u00e4dter Vi\u0161\u0148ovsk\u00e1: Blindness"},"content":{"rendered":"\t\t
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Ingrid Hoffst\u00e4dter Vi\u0161\u0148ovsk\u00e1: Blindness<\/h1>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Author, Exhibition Title:<\/strong> Ingrid Hoffst\u00e4dter Vi\u0161\u0148ovsk\u00e1: Blindness
Venue<\/strong>: Z\u00e1horie Gallery of J\u00e1n Mudroch in Senica, Sadov\u00e1 619\/3
Curator: <\/strong>Vladim\u00edr Beskid
Exhibition Opening<\/strong>: March 22 (Friday), 2024 at 6:00 PM
<\/strong>Musical guest at the vernissage:<\/strong> Dalibor “Stroon” Kocian
Exhibition Duration: <\/strong>March 22 (Friday) \u2013 April 30 (Tuesday), 2024

Organized in cooperation with the Jan Koniarek Gallery in Trnava.<\/strong><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Blindness of Our Days <\/h4>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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(visual environments of Ingrid Hoffst\u00e4dter Vi\u0161\u0148ovsk\u00e1)<\/strong><\/p>

Since her student days, Ingrid Vi\u0161\u0148ovsk\u00e1 (1978) has favoured a unique sculptural mindset based on dematerialization, utilizing new technologies, and unconventional physical and artistic means (laser, UV light, neon, steam, lenticular printing, etc.). For the Z\u00e1horie Gallery, the author has prepared a series of her latest works that map the current visuality (and blindness) of today’s times. It involves a visual crossroads not only of motifs but also of meanings and possibilities of reading visual context. The theme of blindness or eyes facing darkness has been a subject of the artist’s exploration before \u2013 for example, the floating projected eye on disappearing steam from atomizers (Eye, 2007-8; NG Prague), or the magical levitation of eyes in UV light (Silence, Bratislava 2008, Synagogue GJK Trnava, 2010).<\/p>

The pivotal series is \u201cWithout Comment\u201d (2023-24). It involves paired images within a single entity, presenting a powerful confrontation of war reportage photographs from Ukraine and paintings by world authors. The artist employs a new lenticular printing based on Stroop test principles. This results in a unique “flip” effect \u2013 as the viewer changes their position, they see different images from different viewing angles. Thus, we perceive a frightening “clash of civilizations” \u2013 the overlaying of Caravaggio’s image \u201cDeath of the Virgin Mary\u201d with a dying pregnant Ukrainian woman on a stretcher in Mariupol, or the scene of Ivan the Terrible’s dying son from the Russian classic of I.J. Repin with a depiction of a bombed Ukrainian city…<\/p>

The second exhibited cycle \u201cTrue Colours\u201d (2024) is a continuation of lenticular foils presenting a simultaneous perception of image and text, which diverge. Monochrome surfaces emerge by introducing a different color than one of the known symbols (red and black Helvetica cross; (blue) EU flag on a pink background, red star on green, etc.). As aptly stated by the author herself: “The Red Cross is an international symbol of health aid (life) versus the black cross (death); the European Union and its blue flag turned into pink \u2013 as naivety; the Nazi symbol ‘soaked in yellow’ \u2013 a reference to Judaism and the emblem of the yellow star introduced by them. On the other foil, a Jewish star bathing in red \u2013 that is blood, violence, war, and so forth…”. In the series \u201cStamps\u201d (2024), computer-modified faces or body fragments are depicted, embedded with burnt “seals” of other people’s faces. These become their scars (a different form of scarification). An anonymous array of marked people emerges, where body destruction, highlighted healed scars, and damage occur. This opens the stigmatized theme of negative influence from the environment or self-harm \u2013 in this case, as an excessive tolerance of the negative impact of surroundings and specific individuals. Several works refer to religious motifs and their critical interpretation in the contemporary world: a standing, originally Gothic statue of Christ made of soap in a chapel, referring to the offering of the host from Christ’s body, but also a possible “washing of hands” in many scandals in today’s church (Jesus, 2024). The likeness of the Madonna’s face overlaid with a collection of euro coins (Patroness, 2024), or the characteristic series \u201cBlindness\u201d, where small Madonna figures with reflective signaling foil covering their eyes are arranged. This is followed by a series of works that elaborate on models of contemporary world blindness: the intimate object \u201cSleep\u201d 2024 \u2013 a child laid in thumbtacks as a metaphor for motherhood and life; unreadable “stone” faces, without a hint of thought flow or emotions (\u201cPoker Face\u201d), or hybrid creatures\/forms in the form of silicone human faces combined with other objects or materials \u2013 drafting paper, a toilet plunger, a metal structure clutching a small body (\u201cTick\u201d; \u201cFinally\u201d; \u201cBreathe\u201d \u2013 all 2024). The overall theme of the exhibition revolves around the blindness of today’s times, as well as a certain kind of visual diagnosis of individual perception or group reaction of society. Finally, simple letters appear, clearly defining white on white “together and lonely again and again” accompanied by a glowing neon brain (\u201cI won’t think, I won’t think, I won’t think\u201d, 2023).

Vladim\u00edr Beskid<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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