Dominika Ličková /SK/ – Keywords
The main body of the exhibition consists of the series, Beach (2014-2018), which is made up of several parts. From this work one can feel the author’s need to map every environment she finds herself in. In addition to places reshaped by man for holiday destinations, the symbolism of nature is also present in the exhibition, which is not very common in Ličková’s work. At first glance, this series would seem to omit any moral appeal, but we can implicitly read the social and cultural relationships depicted through the world in question, as well as a hint of ecological problems through the extraneousness of the objects found on the beach. Ličková’s latest work, Eden (2019), is explicitly about a family and shared household. The title itself suggests that it is a representation of paradise, a place of bliss and eternal life. Despite the title, there is obvious exaggeration and irony here in this section. She talks about upbringing for everyday life, which can be both stagnating and boring; at the same time, it can form and offer space for finding a sense of excellence and paradise. She capitalizes on her use of the negative as an ironic strategy, which in a visually attractive way, creates a suitable combination with the underlying photographs of plants and flowers. The presence of family ties is also visible in the series, Absence of Bratislava (2018). It is originally an authorial book, which was created because of the temporary separation of the author from her daughter. For this reason, she decided to map Bratislava for several months. She used a, now obsolete, compact digital camera, allowing “trashy” snapshot aesthetics. The photographs are sorted in a row, exactly as they were created at the time. Many of them capture ephemeral traces and transformations of a place; they clash with reality, where it is not only about beauty, but also natural brutality, which completes the authenticity of the home. This conceptually set narrative not only defines the author’s optics and gives the answer to the question of what and for whom she takes pictures, but it also helps the viewer to read the picture monologue. The series, Archive of Temporary Objects (2017-2018), was created directly in the home environment. In this process, the author’s fascination – almost a fetish for the bizarre of the world in question – played a major role. The resulting collages draw attention to the phenomenon of collecting, which is not foreign to elements of uncertainty, temporariness, transience, contextuality, and point of view. These collections embody, through the found and appropriated objects, the periphery and the banality of family life.
As a whole, the exhibition KEYWORDS, oscillates between many dichotomous principles, on the border between the inner and the outer, the private and the public, or the hidden and the obvious. Through individual parts, Ličková reveals her personal space, a kind of inner circle, both physical and mental, related to her intimacy.
(Extract from Curatorial Text)
Dominika Ličková (1974) lives and works in Bratislava. She graduated from the Academy of Fine Arts and Design in Bratislava under prof. Milota Havránková, where she also completed her PhD. She completed an internship at FAMU (The Film and TV School of the Academy of Performing Arts) in Prague and at the Rietveld Academy in Amsterdam. She is engaged in pedagogical work, she works as an assistant professor at VŠVU. She is engaged in independent artistic creation, photographing architecture and design, organizing multicultural events, curating exhibitions and publishing. She exhibits regularly at home and abroad. Her main areas of interest include urban space, human geography, transformation of a place, the world in question, and recently, allusiveness of family ties in her personal life.
web / www.dominika.lickova.com