maroš krivý

"one of the strategies, how ego strengthens its value, is by exposing itself to value radiating from a monument. displaying itself for a photographic camera, a transient but exclusive relationship is constructed between an ego and a sacred object. 'i am in front of a monument' becomes 'i am a monument'. in the presented work, monuments represented on postcards were covered by mirror mosaiques. in this way, ego no longer needs photographic camera to construct a relationship with a monument. instead, ego can merge into the setting and thus literally become a monument by simply looking at itself." see more here.

[all maroš krivý. from the series 'i am a monument' (various sizes, postcards, mirrors, decorative photo-frames). 2010.]

maroš krivý

maroš krivý's 'notes on architecture'. "in the presented series i juxtapose variety of ideological discourses on architecture with images that develop, contrast, expose or oppose them...formally, i have been interested in exploring the interaction between the image and text, where neither text is reduced to the caption of image, nor image is reduced to illustration of a text." see more here.

[all maroš krivý. from notes on architecture. 2007-8.]

juraj kammer

official documnetation of bsp collectives from humenné district in what was then socialist czechoslovakia. juraj began work as a photographer for the regional cultural centre in humenné in 1980 and still continues today. see more here.

[all juraj kammer. 1982-1989. researched, curated & edited by lucia nimcová.]

marián kusik

work by marián kusik from the project leftovers 1980-1983. see more here.

[photos marián kusik. leftovers 1980-1983. concept by lucia nimcová and michal moravčík]

juraj kammer

official documnetation of bsp collectives from humenné district in what was then socialist czechoslovakia. juraj began work as a photographer for the regional cultural centre in humenné in 1980 and still continues today. see more here.

[all juraj kammer. 1982-1989. researched, curated & edited by lucia nimcova.]

rusyns

a project about past and present life of displaced people of rusyn minority from the villages of starina, dara, ruske, smolnik, velka polana, ostroznica, and zvala in slovakia. created by lucia nimcova, lucia dankova, silvia hulajova, ivana lempelova, jarek basos, jozef fundak, stevo koco, roman babjak. see more here.

[top to bottom: jaro basos, smolnik, 2005. archive of pancisin family. silvia hulajova, ruske, 2005. archive of bindzar family.]

magda stanova

magda stanova's 'in the shadow of photography' is a visual essay about the medium. as she explains it "consists of three main issues: searching for the specifics of phototography; investigating the relationship between art and photography; and examining how the behavior and thinking of people has changed since the invention of photography. it consists of 28 pieces: drawings, collages, photographs, texts, animation and objects." see more here. and magda's site is here.

[all magda stanova. 2007. top to bottom: theatre/taking a group photograph. traveling in time (father, son). roland barthes describes chemistry as the essential difference between painting and photography.]

lucia nimcová

from slovakian photographer lucia nimcová's 'unofficial' project dealing with the legacy of socialism. see more here.

[all lucia nimcová. from unofficial (book 2). 2008. top to bottom: competition. discussion about democracy. international women's day.]

branislav kropilak

from the project 'ads' by slovakian photographer branislav kropilak. takes a second to realize they're billboards. see more here.

[all branislav kropilak. from the series ads. 2008.]

pavlína fichta čierna

something quite unsettling in these pictures by slovakian artist pavlína fichta čierna. you can see more of her work here.

[all pavlína fichta čierna. from the project bird's-eye view. 2006. top to bottom: london. bratislava. séoul.]