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Anna Daučiková

Queering and Survival
2–14 August 2021

Filmstill
Expedition for Four Hands and Accompaniment, 2019, detail of projection. Photo: courtesy of artist


Course format
Hybrid class

Participation
Either Fortress Hohensalzburg (on site) or online*

Teaching language
Englisch (Czech, Russian and Italian also available)

What to bring
Laptop/tablet with camera and microphone, camera or mobile phone, tripod (if available), headphones, personal working materials, portfolio.

Requirements
Basic skills in video and photography (editing in Premiere, Final Cut or other) and readiness for experience in art-making and improvisation.

Maximum number of participants
12 vor Ort, 6 Online

Course fee
€ 640,– (€ 480,–)

How far can artistic practice, its prerequisites/aftermaths, be a driver for reconnecting with life in our earnestly transforming times? What can artists do in all-embracing uncertainty and social insecurity? Within the limited art playground, the artist as a political individual is a prerogative in search for strategies and forms. They can express insistent questions of social/personal survival in the reality of the global world, fighting acute problems and old spectres protruding in places of local crises.

The course offers artistic practice in the media of video, performance, photography and their overlaps. Material objects of all kinds, found footage and other artistic resources brought in by students are also welcome.

Students will improve basic skills/approaches in creating moving image/event – addressing framing and gaze, timing and rhythm, spatial context and sound. The next step is to concentrate on using objects and body in movement as a means of expression, on the dramaturgy of the  linear/non-linear, multi-channelled video piece, and more. Embodiment, event and motion, image and multiple/volatile identity, queering strategies and visual poetry will become focal points.

While working on their projects, students will have the opportunity to meet in a group to become acquainted with examples of contemporary art and perspectives of art-making as agency and urgency in re-articulating, re-enacting and re-thinking our reality, eventually leading to impromptu cooperative work.

*If necessary, the course may be held exclusively online.

 
Anna Daučíková's artistic practice encompasses a range of media, from painting and drawing to photography, performance, installation and moving image. Alongside her artistic work she is also a co-founder and activist in several women and queer NGOs and at the end of the '90s she became a spokesperson for LGBT rights in Slovakia.

Starting originally as a glass designer, Daučíková spent more than a decade living in Moscow (then USSR) in the 1980s, a period that significantly affected her artistic work. During the 1990s she joined feminist magazine Aspekt in Bratislava, and in co-operation with other female artists (Christina Della Giustina, Eva Filová) she explored feminist approaches in the medium of performance at a number of festivals.

During recent decades, video-making became predominant, together with her long-term teaching experience at several art academies. After exploring potentials of queering desire and non-normative sexuality, her focus turned towards video essay, including social themes such as poverty, post-Soviet trauma and memory. Last year's video works convey queer statements involving the artist's own body and bodily action accompanied by voiceover narrative.

Solo exhibitions
2019 Anna Daučíková, KW Institute for Contemporary Art, Berlin. Work in Progress: 7 Situations, Slovak National Gallery, Bratislava. Anna Daučíková, Project Arts Centre, Dublin. On Allomorphing, Tensta Konsthal, Stockholm. 2018 FOR, with Assaf Evron, Neubauer Collegium, Chicago, IL (US). Circular Defense, with Zbyněk Baladrán, Gallery Carreras Mugica, Bilbao (ES).

Group exhibitions
2021 Compassion Fatigue is Over, Kunsthalle Rudolfinum, Prague. 2020 Fear, Gallery Arsenale, Bialystok (PL). When We First Arrived – DYKWTCA, Corner at the Whitman&Walker, Washington, DC (US). 2019 Tirana Patience, Galeria Kombëtare e Arteve (National Gallery of Art), Tirana. Sleeping with a Vengeance, Dreaming of the Life, Württembergische KunstVerein, Stuttgart (DE). Collective Exhibition for Single Body, The Private Score, Wittgenstein House, Vienna. City of Tomorrow, New Tretyakov Gallery, Moscow. 2018 School of Pain, Art in General, New York, NY (US). 2017 documenta 14, Athens/Kassel (GR/DE). 2016 Czechoslovak Pavilion, Venice Architecture Biennial, Venice (IT). 2015 Kyiv Biennial – School of Kyiv, Kyiv (UA). Feminismen, Neuer Berliner Kunstverein, Gelsenkirchen (DE). 2014 Manifesta 10 – Eastern Window, St Petersburg (RU). 2013 Good Girls, National Museum of Contemporary Art, Bucharest. 2012 Rosa Arbeit auf Goldener Strasse, Gallery Xhibit, Academy of Fine Arts, Vienna. What a Material: Queer Art from Central Europe, Gallery P.A.X., Amsterdam. 2011 Maps–The Art of Cartography in Centre of Europe, Mirbach Palace, Bratislava. Zero Years, House of Art, Bratislava. 2010 Ars Homo Erotica, National Museum, Warsaw. Diorama: Videoarte Eslovaca, Oi Futuro – Ipanema, Rio de Janeiro (BR). 2009 GENDER CHECK – Femininity and Masculinity in the Art of Eastern Europe, MUMOK, Vienna; Zacheta Gallery Warsaw, Warsaw. Kunst und Öffentlichkeit, 40 Jahre Neuer Berliner Kunstverein, NBK, Berlin.

Publications
Anna Daučíková, TRANS_FORMATION, ed. Monika Mitášová, Slovak National Gallery, Bratislava 2018.

Education
1977 Glass in Architecture, Academy of Fine Arts and Design, Bratislava.
2007 Habilitation, Academy of Fine Arts in Prague. associate professor.

Teaching experience
2000-2013 Studio of Multimedia, Academy of Fine Arts and Design in Bratislava. associate professor.
2012- 2019 Studio of New Media II., Academy of Fine Arts, Prague.
Portrait photo
Photo: Juraj Starovecky
SUMMERACADEMY. AT19/07–28/08/2021

EDUCATION / RESEARCH / ARCHIVE / CYBERSPACE / SPATIAL
PRACTICE / HISTORY / COMMUNITY / CREATIVITY / GAME