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Jana Hojstriãová | KaÏd deÀ | Every Day |

Jana Hojstriãová KaÏd deÀ | Every Day

© fotografie | photo text | text preklad | translated by grafick dizajn | graphic design tlaã | printed by vydala | published by ISBN

Jana Hojstriãová, www.hojstricova.sk Bohunka Koklesová Dáa Mamudo, [email protected] Hana Paukeje, [email protected] Foart Obãianske zdruÏenie Fotofo, Bratislava, 2006

Jana Hojstriãová | KaÏd deÀ | Every Day |

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Od siedmej do ôsmej | From Seven to Eight o'clock

Obsah

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Od desiatej do polnoci | From Ten o'clock to Midnight

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KaÏd deÀ | Every Day

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40 v 36 | Large in Small

Jana Hojstriãová has been continually devoting herself to the subject of ,,female body" since the end of the 1990s. An Jana Hojstriãová sa od konca 90. rokov 20.storoãia kontinuálne venuje intensive focusing on the given subject is a rather tematizovaniu ,,Ïenského tela". SústredenosÈ s akou sa venuje danej uncommon phenomenon in the history of the Slovak problematike je pomerne ojedinelm javom v dejinách slovenskej photography. If briefly characterising a development of fotografie. Ak by sme mali struãne charakterizovaÈ vvin tvorby autorky, the author's work, we could simplify it as a line from tak by sme mohli zjednoduene skontatovaÈ líniu od otázok okolo questions around intimacy of female body based on the intimity Ïenského tela postavenej na skúsenosti Ïeny aÏ po kontrukcie, experience of a woman, to constructions, which, on the ktoré naopak potláãajú autentiãnosÈ identity Ïeny pod tlakom contrary, suppress the authenticity of female identity konzumnch predstáv a ilúzií. V jej tvorbe sa tak objavujú konfrontaãné under the pressure of consumerist images and illusions. polohy. Jana Hojstriãová do istej miery napæÀa predstavu o feminis- Thus, confrontational features appear in her work. To a tickom umení definujúcom okrem iného inakosÈ, rozdielnosÈ v rámci certain degree, Jana Hostriãová accomplishes an image rodovej polarity, na strane druhej nie sú jej vzdialené ani postfemi- of feministic art defining, among other features, the nistické momenty pre rozptlenosÈ identity subjektu. V oboch smeroch otherness and the differences within tribal polarity, sa autorka snaÏí sprostredkovaÈ predovetkm telesnú skúsenosÈ samej and, on the other hand, post feministic moments for seba akoby zvonku, z prostredia mimo jej vlastného tela. Súãasne dispersing the identity of a subject are to be found in v neskorej tvorbe pomenúvava aj znaky ,,civilizovaného tela" podria- her work as well. In both ways, the author tries to deného predstavám spoloãnosti o tele. Opätovne vak vychádza z vlast- mediate mainly a physical experience of herself as if ného poznania postaveného akoby na ,,schizofrenickej" ambivalencii from the outside, from the surroundings of her body. seba samej a rastúcom vplyve spoloãnosti na telo, ktoré sa pod tmto Also, in her later work she defines the features of tlakom mení fyzicky i psychicky. "civilised body" subordinated to social ideals of a body. Again, her work is based on her own experience as if built up on "schizophrenic" ambivalence of herself and developing pressure of the society on a body, which is changing physically and psychically under this pressure.

06/07

Autobiografické ãrty v denníkovej forme jednotlivch fotografickch sekvencií u ãasti svojich projektov autorka realizuje cez pohºad na inú Ïenu (modelku). Cyklus fotografií Od siedmej do ôsmej (2000) zaznamenáva rituál rannej oãisty - hygieny Ïeny, ktorá je samozrejme závislá od pohlavne pecifickch biologickch procesov. Autorka na fotografiách kombinuje fragmenty Ïenského tela s detailami predmetov osobnej hygieny. Fotografie nepopisujú konkrétny oãistn rituál, nie sú naratívne v popise oãisty. Racionálne videnie a konkretizovanie aktu je tu popreté v prospech intuitívneho vberu fotografovanch detailov a fragmentov, ktoré len v náznakoch pomenúvajú skôr tuenú neÏ videnú ãinnosÈ. Jana Hojstriãová vytvorila subjektívny dokument. V jednotlivch detailoch sa na fotografiách objavujú podoby toalety Ïeny. Téma veºmi beÏná v dejinách umenia je tvorená najmä z pohºadu muÏa na Ïenu, na dobov ideál Ïeny, ktor má podnietiÈ fantáziu muÏa - vnímateºa. Prevrátením garde v postupnosti pohºadu Ïeny na Ïenu sa vpoveì stáva existenciálne naliehavou. Idyla témy ,,toaleta Ïeny" sa vo vnímaní Ïien mení na otvorenú vpoveì o tom, o ãom skutoãná toaleta Ïeny je. Jana Hojstriãová siaha po intímnych predmetoch, ktoré sa menia v znaky odkazujúce k biologickm procesom pohlavne urãenm. Aj napriek tomu, Ïe autorka otvorene vizualizuje hygienu Ïeny v jej existenciálnej naliehavosti, uplatÀuje vo formálnej podobe diela lyrizujúci akcent a to najmä v mäkkej rozostrenosti, v ponorení ãastí detailov do zadného plánu alebo naopak zaostrením na drobn detail predmetu v prednom pláne fotografie, v pôvabnosti fragmentu Ïenského tela ale i v samotnej ,,telesnej" farebnosti fotografií. âasov úsek obsiahnut v názve fotografického cyklu predurãuje autorku v pokraãovaní mapovania intímnych podôb Ïeny v ìalích ãasovch horizontoch. Súbor fotografií Od desiatej do polnoci (2002) pojednáva o erotike ako dôleÏitom vnútornom Ïivote ãloveka. Fotografie Jany Hojstriãovej sprostredkúvajú pohºad na autoerotiku Ïeny, sledujeme zaÏívanú vnútornú skúsenosÈ fotografovanej. Podºa Georgesa Battailla je eroticizmus v ºudskom vedomí tm, ão v Àom problematizuje bytie (Georges Bataille: Eroticizmus, Praha, 2001). Battaille pojem eroticizmu spája s túÏbou ãloveka k objektu mimo seba, k inému ãloveku. K ãloveku, ktor sa dotkne jeho najvnútornejieho bytia. Súbor fotografií je akoby v protiklade k Battaillovmu vkladu pojmu eroticizmus, pretoÏe ,,s túÏbou k objektu mimo seba" sa na fotografiách zjavne nepoãíta. Ide o túÏbu Ïeny zaÏiÈ svoje vlastné telo a dospieÈ k vnútornej nezávislej skúsenosti. Fotografie sú svojou vpoveìou veºmi otvorené a do istej miery poukazujú na doposiaº nie natoºko pomenovávané podoby Ïenskej zmyselnosti a pôÏitku. Autorka uplatÀuje pri voºbe záberu obdobné princípy fragmentarizácie Ïenského tela a detailov osobnch predmetov fotografovanej, malú hæbku ostrosti, podobne ako u predchádzajúceho cyklu fotografií. V tendenciách fotografického mapovania ãasovch úsekov Ïivota Ïeny pokraãuje autorka cyklom fotografií KaÏd deÀ (2005). Rukopisn spôsob realizovania subjektívnych dokumentárnych fotografií Jany Hojstriãovej je i v tomto prípade veºmi podobn predchádzajúcej tvorbe. Mení sa vak téma. ,,KaÏd deÀ" autorka preÏíva so svojim synom. Fotografie sú záznamom vzÈahu autorky so svojim dieÈaÈom a dopæÀajú rolu aktívnej Ïeny o materskú rolu. V dnenej dobe je rozporuplnosÈ duality dvoch rolí Ïeny nanajv aktuálna. A ãasto sa v tejto ,, Ïenskej schizofrénii" ptame, ãi konãí absolútna oddanosÈ matky voãi dieÈaÈu. Väãina Ïien v dnenej dobe preÏíva rozporupln vnútorn boj pln pocitov vãitiek ale i vecnch zdôvodnení vlastnch rozhodnutí voliacich medzi dieÈaÈom alebo prácou. Súlad medzi oboma rolami nie je takmer vôbec moÏn. Skôr ide o relatívne pravidelné striedanie dominantnosti jednej z rolí Ïien. K rozporuplnosti vnútorného Ïivota Ïeny nemalou mierou prispieva spoloãnosÈ alebo konzervatívne rodinné zázemie súdiac Ïenu, ako tú, ktorá je vÏdy vinná. Fotografie syna autorky sú subjektívnou vpoveìou o jeho bezstarostnom Ïivote, svete, ktor ho obklopuje, o jeho detstve. Spoloãná práca autorky na fotografiách spolu s jej dieÈaÈom spája

Autobiographic features in a diary form of individual photographic sequences in part of her projects are implemented by the author through a view at another woman (a model). A series of photographs From Seven to Eight o'clock (2000) discloses a ritual of a morning cleaning - hygiene of a woman, which is surely dependent on sexually specific biological processes. In her photographs, the author combines fragments of female body with details of objects of personal hygiene. The photographs do not record a concrete cleaning ritual, they are not narrative in description of the cleaning. A rational view and concretizing of the act are suppressed in favour of intuitive selection of photographed details and fragments, only allusively determining an action, which is more sensed rather than seen. Jana Hojstriãová created a subjective document. Images of a toilet of a woman appear in the photographs in individual details. A subject, common in the history of art, is expressed mainly as a view of a man at a woman, at an ideal of a woman in a certain period, which is to be encouraging an imagination of a man - perceiver. Overturning the order of a male view at a woman results in an existentially more insistent display. An idyll of a subject of "female toilet" in perception of a woman becomes an open display about what a real female toilet is. Jana Hojstriãová depicts intimate objects, which are turning into features referring to sexually determined biological processes (menstruation). Although the author explicitly visualizes a female hygiene in its existential insistency, in a formal aspect of her work she applies a lyrical accent, especially in a soft blurring, in immersing parts of details into the background, or, vice versa, in focusing on a tiny detail of a subject in the foreground of a photograph, in gracefulness of a fragment of a female body, but also in a "physical" colourfulness of a photograph as such. A time period indicated in the title of this series of photographs predetermines the author in continuation on mapping intimate images of a woman in further time horizons. A series of photographs From Ten o'clock to Midnight (2002) deals with erotic as our important inner life. The photographs of Jana Hojstriãová mediate a view on autoeroticism of a woman; we observe an inner experience of a model. According to Georges Battaille eroticism in a human consciousness is what being is problematized in it (George Battaille: Eroticism, Prague, 2001). Battaille connects the notion of eroticism with our longing for another object, for another man, for a man, which would touch our innermost being. A series of photographs is as if in contrast to Battaille's explanation of the notion of eroticism, because "longing for another object" is obviously not reckoned with in these photographs. What is reckoned with is a desire of a woman to experience her own body and to reach an inner independent experience. Display of the photographs is very open and, to a certain degree, pointing at the images of female sensuality and delight, which have seldom been depicted up to now. In selecting a scene the author applies similar principles of fragmenting a female body and details of personal objects of a model, low focus, likewise in the previous series of photographs. A series of photographs Every Day (2005) is a continuation of a tendency of photographic mapping time periods of woman's life. In this case, a holographic manner of creating subjective documentary photographs of Jana Hojstriãová is very similar to her previous works, as well. However, a subject is different. The author experiences "every day" with her son.

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v jedno obe role Ïeny. DieÈa vníma postoje matky pri práci, jej názor, váÏnosÈ celej situácie. Îeny z vlastnej skúsenosti vedia, ako je nesmierne dôleÏité, aby dieÈa poznalo prácu matky, aby zaÏilo matku pri práci. Téma ,,dieÈaÈa" nesie v sebe riziká skæznutia do sladkej sentimentality a ºúbivosti. Jana Hojstriãová spôsobom fotografovania s malou hæbkou ostrosti vytvára takmer rozostren snímok ­ ,,efemérne pôsobiaci snímok detstva", ktor je vzdialen naratívnej popisnosti a ºúbivosti. Súborom fotografií 40 v 36, Large in Small (2005) sa autorka kriticky vyjadruje voãi determinujúcemu zmºaniu médií ovplyvÀujúcich názor spotrebnej spoloãnosti. Masmediálna kampaÀ upriamuje pozornosÈ na svet, ktor je ilúziou, je dokonale vymyslen a tm reálny Ïivot ustupuje do úzadia. Módne ãasopisy, reklamy strhávajú pozornosÈ na veci nedôleÏité pre Ïivot a ich ,,nadenm prijatím" sa sami stávame do istej miery ,,tovarom". Ak je Ïena ,,tvárou produktu" v masmediálnom svete, jej vlastná identita sa stiera a do popredia sa dostáva ilúzia role, ktorú hrá. To má vak dopad na formulovanie a prijímanie noriem ideálu krásy u Ïien v tom reálnom Ïivote. Na fotografiách Jany Hojstriãovej sa nachádzajú Ïeny obleãené do tesnch priesvitnch odevov uitch z igelitu. Odevy uité v ideálnej konfekãnej veºkosti sú samozrejme uÏie neÏ telesné rozmery fotografovanch Ïien. Deformácie tela, zaparenie tela, jeho uväznenie pod tesnm odevom autorka sníma cez fragment Ïenského tela. Volí tú ãasÈ tela Ïeny, ktorá je vnímaná ako tá ,,problematická partia". Telo je na fotografiách symbolicky paralyzované spoloãenskmi dogmami. V tvorbe Jany Hojstriãovej sa nachádzajú dva spôsoby reflektovania sveta Ïeny. Prostredníctvom subjektívneho dokumentu sníma intímne podoby Ïeny, privátny svet autorky, inscenovanou fotografiou vypovedá o konfrontácii Ïeny so spotrebnou spoloãnosÈou, vypovedá o verejnch otázkach so sociálnym kontextom. Obe polohy vycházdajú zo skúsenosti autorky samej a skúsenosÈ sa na fotografiách stáva postojom verejne prezentovanm. Bohunka Koklesová

The photographs record a relationship between the author and her son, in which a role of an active woman is supplemented with a role of a mother. A contradiction in duality of these roles of a woman is very hot at present. In this "female schizophrenia" we often ask ourselves whether an absolute devotion of a mother to her child is not endless. At present most women experience a contradictory inner fight, full of the feelings of reproach, as well as objective reasoning of their own decisions, choosing between her child and her work. Harmonizing of these two roles is almost impossible. It is rather a relatively regular alternation of dominancy of one of these roles. A society or conservative family background often contributes to this contradiction of an inner life of a woman by judging a woman as the one who is always guilty. The photographs of the author's son subjectively display his carefree life, world around him, his childhood. A co-operation between the author and her child in making the photographs interconnects both roles of a woman. A child perceives the attitudes of his mother at work, her opinion, seriousness of the whole situation. In compliance with their own experience women realize how highly important it is for a child to know the work of his mother, to experience her at work. Taking the photographs of a child brings along a risk of sliding down to a sweet sentimentality and romanticism. By low focusing Jana Hojstriãová creates a picture which is almost out of focus - "an ephemeral picture of a childhood", which is far from narrative descriptiveness and romanticism. A series of photographs 40 in 36, Large in Small (2005) is an expression of a critical attitude of the author towards determined approach of media influencing opinion of a consumerist society. A medial campaign focuses attention towards the world, which is an illusion, perfectly fictive, and thus real life is being receded into the background. Fashion magazines and advertisements draw attention to things, which are unimportant in life, and by "accepting them with enthusiasm" we are, into a certain degree, becoming "products" ourselves. If a woman is "a face of the product" in a media world, her own identity is being supressed, and an illusion of the role she is playing is getting into the foreground. However, this reflects in forming and accepting the norms of an ideal of a woman in real life of women. The photographs of Jana Hojstriãová depict a woman dressed up in tight and transparent clothes made from foil. The clothes tailored in an ideal size are, of course, smaller than the physical size of the photographed women. Body deformations, body sweating, imprisonment of the body in tight clothes is shot through the fragments of a female body. The author concentrates on a part of a female body, which is perceived as "problematic". A body on the photohraphs is symbolically paralysed by social dogmas. Two ways of reflecting the world of a woman are to be found in the works of Jana Hojstriãová. Through a subjective document she discloses intimate images of a woman, private world of the author, and, by stage photographs she expresses a confrontation of a woman with consumerist society, evokes public questions with a social context. Both images are based on the experience of the author herself, and an experience depicted in the photographs is becoming a publicly presented attitude. Bohunka Koklesová

10/11

._od siedmej do ôsmej

From Seven to Eight o'clock | 2000|

.__od siedmej do ôsmej |2000|

From Seven to Eight o'clock

OD SIEDMEJ DO ÔSMEJ

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._od desiatej do polnoci

From Ten o'clock to Midnight | 2002

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From Ten o'clock to Midnight

OD DESIATEJ DO POLNOCI

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._kaÏd deÀ ...,

.__KaÏd deÀ |2005|

Every day /2005/

.__KaÏd deÀ |2005|

KAÎD¯ DE

Every day

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Large in Small /2005/

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KaÏd deÀ preÏívame vo svete, ktor je v súãasnosti tak veºmi relatívny a premenliv. Neexistuje jedna pravda, jedna hodnota, je takmer nemoÏné vysloviÈ definitívne súdy. RelatívnosÈ je vnímaná v rôznych uhloch pohºadov na jeden problém ãi tému a mala by znamenaÈ zvenú Every day we experience a world, which is so relative and changeable citlivosÈ pre repektovanie mnoÏstva postojov a názorov at present. There does not exist one truth, one value, it is almost impossible v dnenej spoloãnosti. BB to express definite judgements. Relativity is perceived from various points of view on one problem or subject and it should represent an increased sensitivity for perceiving plurality of attitudes and opinions in present society. BB

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JANA HOJSTRIâOVÁ Pribiova 3, 841 05 Bratislava, Slovensko narodená > 7. augusta, 1972, Myjava www.hojstricova.sk vzdelanie > od roku 2001 Doktorandské túdium, Vysoká kola vtvarnch umení, Bratislava, Slovensko 1991-1997 Katedra fotografie a novch médií, Vysoká kola vtvarnch umení, Bratislava, Slovensko 1986-1990 Stredná umelecko-priemyselná kola, Bratislava, Slovensko tudijné pobyty > 1995 Filmová akadémia muzickch umení, Katedra fotografie, Praha, âeská republika 1994 Ecole Régionale des BeauxArts, Départment art, Saint- Etiénne, Francúzsko 1993 Gerrit Rietveld Academy, Amsterdam, Holandsko

prax > 2002 lektor fotografie, Medzinárodná letná kola fotografie, Poprad, Slovensko od 2001 odborn asistent, na Katedre fotografie a novch médií, V·VU, Bratislava, Slovensko 2000 lektor fotografie, Medzinárodná letná kola fotografie, Poprad, Slovensko 1998-2000 asistent na Katedre vizuálnych médií, Vysoká kola vtvarnch umení, Bratislava, Slovensko 1997-1999 extern pedagóg na Katedre vtvarnej vchovy, Pedagogická fakulta UK, Bratislava, Slovensko 1997-1998 stredokolsk pedagóg, Súkromná stredná umelecká kola, Bratislava, Slovensko 1990-1991 Fotograf, Mestské múzeum Bratislava, Slovensko

kolektívne vstavy > 2005 ,,I image", Galéria Dorottya, medzinárodná vstava- central europen self-stories, BudapeÈ, Maìarsko | ,,Private woman", Muzeum Kinematografii, Medzinárodn festival fotografie, LodÏ, Poºsko | ,,Meeting Point", Galéria Medium, Bratislava, Slovensko | ,,Na hofie bez názvu", Dni slovenskej kultúry, Galéria Na hofie, âeské Budejovice, âeská republika 2004 ,,Digital Olympus", Mesiac fotografie, Galéria Profil, Bratislava, Sloven- 2000 ,,Fotoimage 2000", Galéria Médium a hotel Danube, sko | ,,Eros, eros, eros", Galéria âeské Bratislava, Slovensko 1998 ,,Otvoren ateliér", stretnutie s tvorbou vizuálneho plastiky, Praha, âeská republika 2003 ,,Ona a jej srdce", Dom fotografie, umenia, hotel Danube, Bratislava, Slovensko | Vstava Poprad, Slovensko | ,,Súkromná Ïena", k vroãiu ·UV Bratislava, Slovenské národné múzeum, Mesiac fotografie, Dom umenia, Brati- Bratislava, Slovensko slava, Slovensko | ,,Intimita ako show", 1997 Medzinárodn festival mladej fotografie, Ljubljana, Open gallery, Nadácia - Centrum súãas- Slovinsko | ,,Intermediálny projekt", Fotogaleria ,,U ¤eãickch" , Praha, âeská republika ného umenia, Bratislava, Slovensko 2002 ,,Her Body, Her Story, Her Memo- 1996 ,,Images of Europe 96 ­ Europe: Crossing Borders", ry", Galéria La Sarre v Saint - Etienne, Amsterdam, Holandsko | ,,Sedem", Mesiac fotografie, Francúzsko | ,,âeská a Slovenská foto- Galéria Médium, Bratislava, Slovensko grafia 80-tych a 90-tych rokov 20. sto- 1995 ,,Posuny 95", Fragnerova galéria, Praha, âeská roãia", Múzeum uméní Olomouc, âeská republika republika | ,,Ona a jej srdce", Galéria G4, 1994 ,,Fotofeis", Nottingham, Velká Británia | ,,DomoviCheb, âeská republika | ,,âeská a Sloven- na", Goetheho intitút, Bratislava, Slovensko | ,,AÏ kam..." , ská fotografia 80-tych a 90-tych rokov akcia - módna prehliadka, Bratislava, Slovensko | ,,Photo20. storoãia", Mesiac fotografie, Dom graphic cultures Paris", Mesiac fotografie, Galéria Médium, umenia, Bratislava, Slovensko | ,,Milota Bratislava, Slovensko a její studenti", Dni slovenskej kultúry, 1993 ,,Pocta Duanovi Michalsovi", Mesiac fotografie, GaléGaléria D - Dom kultúry Metropol, âeské ria Médium, Bratislava, Slovensko | ,,Small and special", Glasgow, Velká Británia ,,Cultures photographiques", UniBudejovice, âeská republika 2001 ,,Argentique Numérique Slovaquie versité de Paris VIII, ParíÏ, Francúzsko 2001", Aula du Palais Universitaire, 1991 ,,Zväãenina", Galéria Médium, Bratislava, Slovensko Strasbourg, Francúzsko | ,,Fotoimage 1990 Klub Ïurnalistov, Bratislava, Slovensko | Ekoplagát, 2000", Lofflerovo múzeum, Koice, Slo- Îilina, Slovensko vensko | ,,Komunikácie", hotel Garni WM, Poprad, Slovensko

samostatné vstavy > 2005 ,,Vedné maliãkosti", Onkologick ústav sv. AlÏbety, Bratislava, Slovensko 2003 ,,Sie ­ mein Spiegelbild", Slovensk intitút, Berlín, Nemecko 2001 Galéria Esko, Banská ·tiavnica, Slovensko 2000 ,,·tyri oãi otvorené", Galéria Profil, Bratislava, Slovensko | ,,·tyri oãi otvorené", Galéria G4, Cheb, âeská republika 1999 Medzinárodn festival fotografie, Plovdiv, Bulharsko | Slovensk intitút, Sofia, Bulharsko 1998 Galéria Tatrasoft, Bratislava, Slovensko 1996 Klub ­ Baroko, Nové Zámky, Slovensko | ,,>2<", MKSgaléria Prepotská, Bratislava, Slovensko

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Jana Hojstriãová | Pribiova 3, 841 05 Bratislava, Slovakia | www.hojstricova.sk | Born > August 7, 1972, Myjava Education > since 2001 External Doctorate Studies at Academy of Fine Arts and Design, Bratislava, Slovakia | 1991-97 Department of Visual Media, Academy of Fine Arts and Design, Bratislava, Slovakia | 1986-90 High School of Art and Industry, Bratislava, Slovakia | Educational Stays > 1995 Film Academy of Music Arts, Prague, Czech Republic | 1994 Ecole Régionale des Beaux-Arts, SaintEtiénne, France | 1993 Gerrit Rietveld Academy, Amsterdam, Netherlands | Experience > 2002 lecturer of photography, International Summer School of Photography, Poprad, Slovakia | 2000 lecturer of photography, International Summer School of Photography, Poprad, Slovakia since 2001 | lecturer at Department of Photography and New Media, Academy of Fine Arts and Design, Bratislava, Slovakia | 1998-01 assistant at Department of Visual Media, Academy of Fine Arts and Design, Bratislava, Slovakia | 1997-99 external lecturer, Department of Fine Arts, Faculty of Pedagogy, Comenius University, Bratislava, Slovakia | 1997-98 teacher, Private High School of Art, Bratislava, Slovakia | 1990-91 photographer, City Museum Bratislava, Slovakia|

Bibliografia/Bibliography > Havránková, M.:

Galéria Profil | Gallery Profile, Divadlo Komédie

| Theatre of Comedy, Vtvarn Ïivot 1995, No.

4-5 · Havelková, J. ­ Sta-

/catalogue to exhibition/, cho, ª.: Intermediální projekt | Intermedial Project Project in Photogallery at the ¤eãickch' s, Slovenské sátych let 20. století |

Prague 1997 · Havelková, J.: Multimediálny projekt

vo Fotogalérii u ¤eãickch | Multimedial a devade-

listy, 1997, No.10 · Rilinková, H. ­ Lendelová,

L. ­ Pospûch, T.: âeská a slovenská fotografie osmdesátch

1990s /publication to exhibition/, Muzeum Czech and Slovak Photography in the 1980s and to exhibition/, Mesiac fotografie | Month of Photography

umûní | Museum of Art Olomouc 2002 · Koklesová, súkromie |

B.: Súkromná Ïena | Private Woman /catalogue

, Fotofo Bratislava 2003 · Jablonská, B.: Zverejnené

fotografie v Bratislave Published Privacy, Dart 03, 2003 · Birgus, V.: Mûsíc Zasebna Ïenska, Apokalipsa, revija za preboj v Ïivo macy As Show /catalogue

po tfiinácté | The 13th Month of Photography in

Bratislava, Atelier, 2004 No.1 · Koklesová, B.:

kulturo, Ljubljana 2004 Nos. 78,79,80 · Hanáková,

jako show | IntiP. ­ KaÀuch, M. ­ Oravcová, J.: Privat frei - intimita

·

of Contemporary Art, Bratislava 2004 to exhibition/, Open Gallery, Foundation ­ Centre

Büngerová, V.: Privat frei, Dart 01, 2004 · Koklesová, l Festival of Photography in

B.: Nahofie bez názvu | Upward No Name, Atelier,

to exhibition/, The 4th Internationa 2005, No. 8 · Koklesová, B.: Private Woman /catalogue to exhibition/, Dorottya Gallery, Budapest 2005 20

·

Self ­ Stories /catalogue Lódz 2005 · Csatlós, J.: I Image, Central European Stroking, Foto-video, 5th year, 7-8/2005 · Pospûch,

Stacho, ª.: Láskavo sa láskajme | Warm

Collective Exhibitions > 2005 "I Image", Gallery Dorottya, International Exhibition - Central European Self-stories, Budapest, Hungary | "Private Woman", Museum of Cinematography, International Festival of Photography, Lódz, Poland | "Meeting Point", Gallery Medium, Bratislava, Slovakia | "On the Nameless Mountain", Days of Slovak Culture, Gallery Na hofie, âeské Budûjovice, Czech Republic | 2004 "Digital Olympus", Month of Photography, Gallery Profil, Bratislava, Slovakia | "Eros, eros, eros", Gallery of Czech Plastic Art, Prague, Czech Republic | 2003 "She and Her Heart", House of Photography, Poprad, Slovakia | "Private Woman", Month of Photography, House of Art, Bratislava, Slovakia | "Intimacy as Show", Open Gallery, Foundation ­ Centre of Contemporary Art, Bratislava, Slovakia | 2002 "Her Body, Her Story, Her Memory", Gallery La sarre in Saint - Etienne, France | "Czech and Slovak Photography in the 1980s and 1990s", Museum of Art Olomouc, Czech Republic | She and Her Heart", Gallery G4, Cheb, Czech Republic | "Czech and Slovak Photography in the 1980s and 1990s ", Month of Photography House of Art, Bratislava, Slovakia | "Milota and Her Students", Days of Slovak Culture, Gallery D ­ House of Culture Metropol, âeské Budûjovice, Czech Republic | 2001 "Argentique Numérique Slovaquie 2001", Aula du Palais Universitaire, Strassburg, France | "Fotoimage 2000", Loffler's Museum, Koice, Slovakia | "Communications", Hotel Garni WM, Poprad, Slovakia | 2000 "Fotoimage 2000", Gallery Medium and Hotel Danube, Bratislava, Slovakia | 1998 "Open Atelier", meeting with outputs of visual art, Hotel Danube, Bratislava, Slovakia | Exhibition to the Anniversary of School of Applied Art Bratislava, Slovak National Museum, Bratislava, Slovakia | 1997 International Festival of Young Photography, Ljubljana, Slovenia | "Intermedia Project", Photo-gallery ,,U ¤eãickch", Prague, Czech Republic | 1996 "Images of Europe 96 ­ Europe: Crossing Borders", Amsterdam, Netherlands | "Seven", Month of Photography, Gallery Medium, Bratislava, Slovakia | 1995 "Movements 95", Fragner's Gallery, Prague, Czech Republic | 1994 "Fotofeis", Nottingham, Great Britain | "Home", Goethe Institute, Bratislava, Slovakia | "How Far...", fashion show, Bratislava, Slovakia | "Photographic Cultures Paris", Month of Photography, Gallery Medium, Bratislava, Slovakia | 1993 "Tribute to Duan Michals", Month of Photography, Gallery Medium, Bratislava, Slovakia | "Small and Special", Glasgow, Great Britain | "Cultures Photographiques", Université de Paris VIII, Paris, France | 1991 "Enlargement", Gallery Medium, Bratislava, Slovakia | 1990 Journalist Club, Bratislava, Slovakia | Eco-poster, Îilina, Slovakia Individual Exhibitions > 2005 "Common Details", Oncological Institute of St. Elizabeth, Bratislava, Slovakia | 2003 "Sie - mein Spiegelbild", Slovak Institute, Berlin, Germany | 2001 Gallery Esko, Banská ·tiavnica, Slovakia | 2000 "Four Eyes Open", Gallery Profil, Bratislava, Slovakia | "Four Eyes Open", Gallery G4, Cheb, Czech Republic | 1999 International Festival of Photography, Plovdiv, Bulgaria | Slovak Institute, Sofia, Bulgaria | 1998 Gallery Tatrasoft, Bratislava, Slovakia | 1996 Club - Baroko, Nové Zámky, Slovakia | ,,>2<", MKS - Gallery Prepotská, Bratislava, Slovakia

T.:The New Document, Imago, Summer 2005, No.

70/71

Realizované s finanãnou podporou Ministerstva kultúry Slovenskej republiky Realization financially supported by the Ministry of Culture of the Slovak Republic

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