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2010
2009
2. Russian avant-garde. Non-conformists from the Bar-Gera collections
14. November 2008 - 22. February 2009
Eva Kmentová
8. January 2009
OSEMDESIATE
Postmoderna slovenskom výtvarnom umení
Retrospektíva 1985 – 1992
8. April 2009 - 30. August 2009
Modernice!
20. May 2009 - 21. June 2009
Carte Futuriste / Futuristic Drawings
100 Years of Futurism
17. June 2009 - 26. July 2009
Mudroch & Mudroch
The Dialogue That Never Took Place
18. September 2009 - 15. November 2009
The Brussels Dream
Czechoslovak Participation at the EXPO 58 World Exhibition in Brussels and the Lifestyle of the First Half of the 1960s
24. September 2009 - 15. November 2009
Juraj Bartoš
8. October 2009 - 29. November 2009
Renaissance
The History of Slovak Fine Art
18. December 2009 - 28. Marec 2010
2008
2007
2006
2005
2004
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Honorary Mention Insita 2010 - Egidio Cuniberti INSITA 2010 9th International Triennial of Self-Taught Art He was born in 1928 in Mondove. He died in 2006. In his youthhe worked in a foundry. At the age of 24 he had a serious ac¬cident and underwent two serious brain surgeries in one day. He survived but other serious health problems arose: migraine, epileptic fitsandinsomniaaccompaniedhimthroughouthislife. After years of inactivity, at the age of 43 he began to create objects and furniture in an original style, using only recycled materials and working at home without electrical equipment. Then he began to live in a dimension of his own, focused on artistic work day and night, dividing it among philosophical thoughts, political, mystical and manual work. He worked in¬tensively until 2002, producing more than 200 works. Egidio Cuniberti’s totems and furniture are masterpieces, ‘raw diamonds’ that one rarely comes across. The materials are res¬tricted to ice-cream sticks and fruit cake cornets, but the result is fantastic: the female shapes are built out of any anatomi¬cal design, the faces and bodies are stereotyped. The furniture works perfectly: drawers, doors, flapsarecreatedbyamani¬acal respect for the handmade rules. The decorative necessity makes the author insert many ‘surreal’ images: one can reco¬gnise them even if they are totally strange, in fact they come from the classical inventory of the History of Art: winged hor¬ses, Marat in the bath, Roman and French landscapes, triumph of fruit, nymphs, etc. All these typical subjects are executed in a sort of impressionist technique, putting one ice-cream stick next to the other: the result is a series of vibrating and exciting images that make the furniture look baroque, solid and won¬derful. The richness of the decoration is in contrast with poor materials, often recovered from rubbish; his house was a real storage of different found objects. His fantasy switched on by the aesthetic qualities of the salvaged, rather than followed a rational project. up | |
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