CHRONOS&KAIROS
Dorota Sadovská
Chronos&Kairos 1 (Autoportrait), 2024, oil on canvas, 40 x 30 cm, photo: Dorota Sadovská
Chronos&Kairos 1 (Autoportrét), 2024, olej na plátne, 40 x 30 cm, foto: Dorota Sadovská
Dorota Sadovská
Chronos&Kairos 2 (Ivan L.), 2024, oil on canvas, 40 x 30 cm, photo: Dorota Sadovská
Chronos&Kairos 2 (Ivan L.), 2024, olej na plátne, 40 x 30 cm, foto: Dorota Sadovská
Dorota Sadovská
Chronos&Kairos 3 (Serafína J.), 2024, oil on canvas, 40 x 30 cm, photo: Dorota Sadovská
Chronos&Kairos 3 (Serafína J.), 2024, olej na plátne, 40 x 30 cm, foto: Dorota Sadovská
Dorota Sadovská
Chronos&Kairos 4 (Lukáš J.), 2024, oil on canvas, 40 x 30 cm, photo: Dorota Sadovská
Chronos&Kairos 4 (Lukáš J.), 2024, olej na plátne, 40 x 30 cm, foto: Dorota Sadovská
Dorota Sadovská
Chronos&Kairos 5 (Juraj Č.), 2024, oil on canvas, 40 x 30 cm, photo: Dorota Sadovská
Chronos&Kairos 5 (Juraj Č.), 2024, olej na plátne, 40 x 30 cm, foto: Dorota Sadovská
Dorota Sadovská
Chronos&Kairos 1-5, 2024, oil on canvas, 40 x 30 cm, photo: Dorota Sadovská
Chronos&Kairos 1 – 5, 2024, olej na plátne, 40 x 30 cm, foto: Dorota Sadovská
Dorota Sadovská
Chronos&Kairos 1-5, 2024, oil on canvas, each 40 x 30 cm, installation with plastic foil, Supermarket Independent Art Fair 2024, Stockholm with Altán Klamovka Gallery, Prague, photo: Dorota Sadovská
Chronos&Kairos 1 – 5, 2024, olej na plátne, každý 40 x 30 cm, inštalácia s plastovou fóliou, Supermarket Independent Art Fair 2024, Stockholm s Galériou Altán Klamovka, Praha, foto: Dorota Sadovská
Dorota Sadovská
Chronos&Kairos 1-5, 2024, oil on canvas, each 40 x 30 cm, detail, installation with plastic foil, Supermarket Independent Art Fair 2024, Stockholm with Altán Klamovka Gallery, Prague, photo: Dorota Sadovská
Chronos&Kairos 1 – 5, 2024, olej na plátne, každý 40 x 30 cm, detail, inštalácia s plastovou fóliou, Supermarket Independent Art Fair 2024, Stockholm s Galériou Altán Klamovka, Praha, foto: Dorota Sadovská
Dorota Sadovská is consciously hacking away the form of the hung picture and expanding into space. She explores the limits of the picture as a determination of the viewer’s position, to the point of conscious dematerialisation. She delights ingetting a game of opposites going and sliding upon the boundaries of media and of themes (traditional and progressively conceived). Her work is targeted at the skin, which she easily converts into lines, exploring the limits of inside and out, the positions of I and we, the subject and the object.
The Chronos & Kairos cycle is based on two names for time. Chronos refers to scientifically measurable time. In contrast, Kairos is the god of the auspicious moment and intuition for the right time in Greek mythology. When using mobile phones, we lose our face and the ability to communicate with the viewer "face to face". We are torn from the present moment and can get lost in both time - the chronological and the immaterial.
Dorota Sadovská is a well-established Slovak artist of the middle generation. She graduated from the Academy of Fine Arts and Design in Bratislava and the École Nationale des Beaux Arts in Dijon, France. Her artwork freely moves between the media of painting, drawing, photograph, performance and interaction with viewers. Above all, she is a painter who consciously works with respect for painting in the context of art history. She focuses on the human body that she sees from two angles, as a substance and as a bearer of gestures and emotions. Playing with the perspective and an unusual angle of portrayal is another level of interpretation of her artwork.
Lenka Sýkorová, curator Altán Klamovka Gallery, Prague for Supermarket Independent Art Fair 2024, Stockholm
Názov Chronos&Kairos vychádza z dvoch starogréckych názvov pre čas. Chronos označuje presne merateľný čas, chronologicky usporiadaný, logický a s definovateľný dátumom. Naproti tomu Kairos je v gréckej mytológii boh príhodného okamihu, priaznivej príležitosti. Nemusí byť logický lebo zahňuje aj náhodu, pocit alebo intuíciu pre správny čas.
Na namaľovanom portréte je portrétovaný prekrytý vlastným mobilom. Stráca tak svoju tvár aj schopnosť komunikovať s divákom ‘z očí do očí'. Používaním mobilu sa možno stratiť v oboch časoch – v prítomnom okamihu, aj citlivosti pre konkrétne súvislosti, či bezprostredné vzťahy. Ostré nasvietenie vzdialene pripomína barokový pátos, ale na rozdiel od teplého svetla sviečky zostáva svetlo mobilu prevažne chladné. Neprítomná tvár má preto bližšie k prízraku, unikaniu či k hibernujúcej alebo somnambulickej (ne)prítomnosti.
Dorota Sadovská