Marek Schovanek - News

P R E S C R I P T I O N

admin — Mon, 16 May 2011 20:44:45 +0000

T H R E E P I L L S L I M I T E D E D I T I O N

Unique mdf processed wood sculpteres, hand crafted, lacquered

Recommended dossage minimum three pills

T H R E E P I L L S L I M I T E D E D I T I O N

Unique mdf processed wood sculpteres, hand crafted, lacquered

Recommended dossage minimum three pills

A TO B

admin — Sun, 15 May 2011 18:47:15 +0000

Current exhibition Tim Roeloffs & Marek Schovánek: A to B - Enschede, NL

City Scape – Fall in Berlin Edition / Triptych 1 / 2011 / Paper collage, etched glass / each segment 59 x 64 cm

City Scape – Fall in Berlin Edition / Triptych 2 / 2011 / Paper collage, etched glass / each segment 59 x 64 cm

City Scape – Fall in Berlin Edition / Triptych 3 / 2011 / Paper collage, graffiti glass / each segment 59 x 64 cm

S P R I N G F E V E R 2

admin — Sat, 16 Apr 2011 19:31:08 +0000

finishing 120 PILLS….

O P E N S T U D I O 2 0 1 0

admin — Thu, 02 Dec 2010 22:24:19 +0000

Because of popular demand:

Works on display:

Steganography

Crystal Distortion

Hunter-Gatherer

Trust your dealer

TRUST YOUR DEALER 12/10

admin — Tue, 23 Nov 2010 20:36:04 +0000

PREVIEW on the next PILLS…

TRUST YOUR DEALER 11/10

admin — Mon, 22 Nov 2010 22:58:43 +0000

Introducing the PILL series by Marek Schovánek.

One-of-a-kind and very much sought-after!

Get your personal PILL today!

S T E G A N O G R A P H Y 7/10

admin — Sun, 07 Nov 2010 15:37:09 +0000

Steganography is a book that will not be completed for some time.

Text by Gerd Lemke 2010/ Translation Matthew Schneider

S T E G A N O G R A P H Y 6/10

admin — Sun, 07 Nov 2010 15:27:41 +0000

Handwriting is another exciting subject of this series. Even if the viewer cannot decode the words in Schovánek’s handwriting, it still describes the mood in which the sentences were expressed. Writing is generally standardised in order to facilitate it as a means of communication. Standardisation of the characters also causes the language that it expresses to become standardised. In turn, standardisation of the language standardises thinking itself, ultimately standardising thought and therefore the world. This is the inherent element of the power of writing.

At first in its history, writing frees itself only gradually from conformity. It’s likely that general literacy was needed for this, which was only implemented around seven generations ago in Europe. Once access to writing is no longer restricted, its use can no longer be monitored. Only then in the history of writing does the urge to develop original, personal spoken expression set in. At that point, we begin to write how we speak.

When writing is involved, Schovánek returns to that arena in which handwriting has to please aesthetically more than anything. The sensuality it expresses is more than just a supplement to the sense of the words. The handwriting also serves as a metaphor for the individuality of the overwriting process. Every image tells its own story, the history of its material, the history of the process that created it, the history of the manipulated media. In no way does this coating of wax represent a process of erasure.

Sigmund Freud also recognised this while reflecting on the ‘Wunderblock’. This child’s toy enables a wax layer beneath a protective film to be written and painted on. A simple device allows the image created to be erased again; however, Freud noticed that fine lines remained scratched on the film. This enabled the father of psychoanalysis to confirm his own theories about memory. To be exact, the theory of how memories are created and what their characteristics are. In short, a model of memory itself.

S T E G A N O G R A P H Y 5/10

admin — Sun, 07 Nov 2010 15:18:57 +0000

Humanity surfaces in the series on an image that focuses on the relationship of writing, conservation, and the body. The partially nude torso of an androgynous being with a spectral head provides the motif. The short, black hair may be freshly grown, and the face is dominated by a large pair of black sunglasses. A black article of clothing covers half of the ribcage, which does not allow any conclusion concerning the possible gender. The naked sections of the body provide a writing surface for inscriptions of written characters of varying provenance, and pictographic symbols such as waves are contained in between these. The tattoos on the skin only indicate the possibility of description; they do not adorn the body, they abuse it as a medium of transmission.

S T E G A N O G R A P H Y 4/10

admin — Sun, 07 Nov 2010 15:05:29 +0000

Schovánek has distinguished himself since his start as an artist by continuously working on his pictures, by painting over them partially, destroying parts of them, and by combining them again in a new way. This time he seals them and preserves the existing artistic process of the material. It seems as if he would like to stop this recycling process for a moment and take a breath in order to view the process up until now in peace.

The moment of reflection for Schovánek remains just a moment, since he quickly processes the freshly sealed images further and writes on the new surface that is created. His handwriting and its blurred letters accentuate the act of writing and the need to write. You might suppose a mania is behind this, at least if this concept is connected with the manual activity itself. Or also the urgency that keeps the artist from simply letting these things alone.

The less legible the handwriting is, the greater the need to decode it. The letters that have been inscribed with a stencil by Schovánek that relay Foucault’s find look like the work of an anonymous typewriter. It’s almost like a case of identity theft. In contrast, the handwriting offers room for personal development, room for individuation, for the expression of emotion.