When I was a child, I wanted to write a book about a world where all continents are physically connected and therefore have no borders.

In today’s world, I find a lot of painful past with cracks in the present. Photographs are not only a proof for those cracks, but they also are connected to my second home that my parents abandoned.

The medium of photography is oftentimes a tool of power by humiliating others and keeping privilege for the mighty ones. I look at the past while finding common denominators in the present times - not only in current political strategies but also in my very own growing trauma in the background of my Slovak-Vietnamese identity.

I no longer believe in the boundless state of the whole world but I look for ways out of the repetitiveness of our history. 


She began her art studies at the Josef Vydra School of Applied Arts in Bratislava. Subsequently, from 2008 to 2014, she studied at the Academy of Fine Arts in Bratislava, first at the Department of Free Graphics, later at the Department of Painting in the studio under the guidance of prof. Daniel Fischer. In 2013, she completed an internship at the Academy of Fine Arts in Budapest in a studio led by Imre Bukt. She has participated in several foreign residences and symposiums. She actively presents herself at individual and group exhibitions at home and abroad. She was a finalist in the Painting of the Year Award for three times.

Kamene 5, 190x150cm, olej a akryl na plátne, 2020.jpg


July 15 - 15 August 2021

He develops reflections on the function of painting and its (in)ability to reflect reality in the latest cycle Stones (2019/20), in which, unlike artificially constructed “landscape paintings”, he works with (relatively) existing material. Šakový’s program takes over figural scenes, details or lesser-known views of the top works of European late Renaissance and Baroque sculpture. He trims the composition in a punk way. Follows gestures or specific body details of figures. He approaches historical material analytically and without emotions. He is not interested in an excursion into the history of art, nor in mythological stories or iconography of saints. His curatorial selection is connected by an interest in the motif of drapery, ecstatic body, athletic muscles or round curves. 

sample 0003 (Hand holding a scroll) fron

Alexandra Selmeci &

Tomas Kocka Jusko

10. February -28. February 2021

Alex Selmeci and Tomáš Kocka Jusko are an artistic duo from Slovakia, now based in Prague, working together since 2017. They are focused on object-oriented work, using a medium of the exhibition to create complex environments and intermedia installations. They mainly work with building and technical materials and their specific identity or poetics, dealing with matters of variability, disassembly, reusability or conservation of things in general and of their own works. They are trying to find aesthetics which could respond to the accumulation of a great amount of already produced materials. In their most recent work, Selmeci and Jusko are interested in various possibilities and distortions of time perception, using their own timeline to create objects with fictional past, which is yet to happen. The timeline acts as a cycle of visions and failures and constant overthinking and follows also the authors' interest in the mutual impact of fiction on reality and vice versa.


Conceptual Photography

by Géza Perneczky

22. January -12. February 2021

Yes-No Strategy


Perneczky is a protagonist of the Hungarian conceptual art, his early conceptual works and also his publications had a catalyst role on the Hungarian neo-avantgarde tendencies. Since 1970 Géza Perneczky lives and works in Cologne and was an important mediator between the Hungarian/Eastern European and the international art scene. On the international scene he became known as one of the founder of the post-fluxus mail art movement, which also defined the character of his conceptual works.

Past SODA Online