Gandy gallery is pleased to announce the second exhibition of Denisa Lehocká in the gallery.
In her sculptural arrangements, reservedly placed in the space as if lost in a dream, Denisa Lehocká relates found objects (which seem to tell of their quiet lives and the traces of memory attached to them) to serial notes, modular studies and textile objects. Lehocká’s works are sediments of a lengthy artistic working process based on a concrete reference to the object, which is then processed through the endless possibilities of combining graphic elements. Lehocká thus develops a “poetics of the succinct”, which appears both light and ephemeral and deals with the multifaceted and obscure relationships between the real and the imaginary. She interweaves these with references to conceptual techniques, modular procedures of Modernism as well as with those to Surrealist object languages. (Text by Georg Schöllhammer on the occasion of the individual exhibition of Denisa Lehocká at Sammlung Friedrichshof (Vienna, Friedrichshof, AT, 2013).
Born in 1971 in Trenčín, lives in Bratislava and Vienna. She studied at Academy of Fine Arts and Design, Bratislava, SK. Amongst many exhibited individually at Sammlung Friedrichshof, Vienna AT; Gallery of contemporary Arts, České Budějovice, CZ; Badischer Kunstverein, Karlsruhe, DE or Basis voor Actuele Kunst, Utrecht, NL and collectively at The School of Kyiv / Kyiv Biennale, UI; Thirty One, Galeria Kombetare, Pristina, Kosovo; Cutting Realities – Gender Strategies in Art, Austrian Cultural Forum, NYC, USA; Report on the Construction of a Spaceship Module, New Museum, NYC, USA; Gender Check, MUMOK, Stiftung Ludwig Vienna AT; Auditorium, Stage, Backstage, Frankfurter Kunstverein, Frankfurt am Main, DE; Narratives, Kunsthaus Graz Landesmuseum Joanneum, Graz, AT; Body-Space / Nets and other creations, Kunsthalle Basel, Basle, CH or Manifesta 3, Ljubljana, SI amongst many.
In her current exhibition at Gandy gallery in Bratislava Denisa Lehocká develops her long-term continuous production of objects (poiesis) which result into spatial collages. Lehocká’s platform of reflection is an interface of correlation between the physical, the physical space of an everyday domesticity (also enclosing the Levinas’ meaning of its monstrosity) and its mental, psychological and emotional counterpart. In her drawings (in the cords, threads,…) the trajectories of orientation, connections, are also the synapses, neurological, sensory, sensual, cognitive. The volumes of her sculptural spheres are content of words, statements. A language is mixed with another language, a “dream” world clashes with a “real” one. Lehocká handles the objects made by her as the objet trouvé of her living (selected plaster objects are hiding their core in the textiles of the clothing belonging to her already grown daughter), or as the samples of her intimacy, in the open permutation, in the diaspora of meanings. Her work is purely associative and should be also read so.
Boris Ondreička, 2016