Lýdia Pribišová is interested in testing the boundaries of art. In her curatorial projects, she focuses on subversive art practices that go against typical social and cultural patterns. In her work, Pribišová observes how cultural stereotypes are constructed as well as the shifting positions of individual subjects in society. She works with themes of collective memory, sharing, and local Central European history, in part by questioning social rules, conformism, and the changing role of public space in post-communist societies.
Lýdia Pribišová (born 1980, Slovakia) is a curator and art historian. Pribišová has been the Slovak editor at Flash Art Czech & Slovak Edition since 2006, before becoming the managing editor in 2015. For two years (2013-2015), she worked as a project coordinator for the organization and digital platform tranzit. In 2012, Pribišová founded the nonprofit PILOT, and in 2007, she co-founded gallery of immaterial art, Evolution de l’Art. Projects include the 2007 and 2011 Slovak exhibition at the Prague Biennale. In 2013, Pribišová obtained her PhD from the University Sapienza, Rome; her doctoral thesis is titled Quadriennale of Rome. From Public Body to Foundation. Reflection on transformation.
Events & Exhibitions
Residents from Slovakia
Hsiang-Ning Huang’s work focuses on the intersection of aesthetics and politics in contemporary art; in other words, the engagement of art in the political realm, providing a critical perspective on social realities and proposing an imagination towards a better future. Huang’s work suggests an alternative view of history, memory, and the human condition in the context of post-colonization and globalization.
Hsiang-Ning Huang (born 1982, Taipei) is a curator and a member of tamtamART Taipei, and previously worked at MoCA Taipei. Her recent curatorial projects include The Moment that Comes is about to Go – 6 Perspectives about Time, MoCA Taipei, 2016; Invading Heterotopia, a two-night projection in a historical area facing the crisis of urban renovation and transformation of local industry; and It’s not a REAL film, 2014.
Residents from Taiwan
Alicia Frankovich is interested in the potential for new modes of imagining bodies and their behaviors for both humans and non-humans. She works with performance, sculpture, video, photography, and temporary exhibition experiences. Frankovich is interested in creating new languages that merge movements, experiences, sensibilities, materials from various fields, often by collaborating with non-professional participants. Her mode of production combines various past histories with the present to form relationships with possible futures. She builds equivalences through the combination of form or temporal experience, that create links between things and beings to allow for a more plural understanding of time.
Alicia Frankovich (born 1980, Tauranga, New Zealand) holds a BVA in sculpture from Auckland University of Technology, and lives and works in Berlin. Her solo and two-person exhibitions include The Female has Undergone Several Manifestations, Starkwhite, Auckland, 2016; Complex Bodies, Kurator, Alte Fabrik, Gebert Stiftung für Kultur, Rapperswil, Switzerland, 2015; Today this technique is the other way around, Kunstverein Hildesheim, 2013; and Gestures, Splits and Annulations, Künstlerhaus Bethanien, Berlin, 2011. Group exhibitions and performances include: Les Limbes, La Galerie, Noisy-le-sec, France 2016; If I Can’t Dance I Don’t Want To Be A Part Of Your Revolution, Gerrit Rietveld Academie, Amsterdam, 2016; Le Mouvement: Performing the City, Biel/Bienne, Switzerland, 2014; Nouvelles Vagues, Palais de Tokyo, Paris, 2013; and Material Traces, The Leonard & Bina Ellen Art Gallery, Montréal, 2013.