Katalin Ladik, Hairself, performance at the Museum of Contemporary Art, Belgrade, 1982
photo: Milomir Bošković. Courtesy of the artist and acb Gallery, Budapest
821 01 Bratislava
Hours: Wed - Fri 2 - 6pm
and by appointment
Jaro Varga (b. 1982) is a commentator on creation and destruction. He enjoys seeking out subtle details of what is lost, and systematically looks after what is just being born. Varga explores more than just one field of study. His range of interest encompasses geopolitical topography, the production and archiving of knowledge, social faux pas, and forgotten moments in history. He illustrates the various interconnections between the objects, moments, situations, or places that he finds or consciously seeks out by working with both their form and content.
SODA gallery Paris
Group exhibition Paris
June 7 - 21, 2021
Milan Adamciak, Stano Filko, Július Koller, Jana Želibská, Géza Perneczky,
Lucia Tallova, Milan Vagac, Kvet Nguyen, Marek Kvetan, Jaro Varga
SODA gallery present selection of works by represented artist. First pop-up project in Paris district Le Marais, next to great neighbors as Perotin, Zwirner, Goodman, gb agency, Elbaz and many more. Following current trends and many of leading galleries are moving and opening spaces and galleries in Paris.
Kvet Nguyen (Hoa Nguyen Thi) was born in 1995 to Vietnamese migrants in Slovakia. This clash of two different realities is the base for every thinking process and eventually dominant subject in her works.
She recently graduated from her bachelor studies at the Academy of Fine Arts and Design in Bratislava, Slovakia at the department of Photography and New Media. She continues her Masters with the first semester-long study at the Koninklijke Academie van beeldende Kunsten (Royal Academy of Fine Arts) in the Hague and then plans to return home.
The starting point for her long-lasting motivation was based on Stuart Hall’s post-colonial theory. Here, for the first time, she understands the many angles of history that are yet to be unveiled. Continuing in the line with migration, she rediscovers notions of herself and her parents’ unfixed nationality as well as the hybrid sense of the state of post-migration belonging.
Mikyta's works make reference to the political iconography of socialist mass movements and to the nationalist and religious symbols of Eastern Europe. By means of over‐drawings and collage‐like alienations he "doubles" their seductive aesthetic and exposes the political manipulation of images, the impact of which is still being felt today. Sometimes his interventions, with a pen and often with red paint, are scarcely perceptible, sometimes they are so refined that they give rise to something totally new in terms of both composition and theme. Mikyta usually produces cycles of works which are intended to be hung in groups and conjure up associations with history and personal stories due to their open‐ended correlations.