Oskár Čepan

EDUCATION: 1998-2002 MA/ L’Accademia delle Belle Arti, Rome, Italy; 1996 AFAD Academy of Fine Arts and Design, Bratislava; 1991-1995 Bratislava Institute of Art and Design; 2016 ArtD, AFAD Academy of Fine Arts and Design;

SELECTED GROUP EXHIBITIONS: 2020 – Keeping In Balance, Works from Art Collection Telekom, Ludwig Museum, Budapest, HU (curated by Nathalie Hoyos, Rainald Schumacher); Straperetana, Produttori di silenzio, Pereto, Abruzzo-Aquila, IT (curated by Saverio Verini); Ecologies of the Ghost Landscape/The Word for World is Forest. Tranzit.sk, Bratislava, SK (curated by Bórbala Soós); History repeats History, Fondazione Zimei, Pescara, IT (curated by Massimiliano Scuderi); 2019 – The Milky Way, Galleria Franco Noero, Turin, IT;30 years after. Art Collection Telekom. As part of the Rencontres de la Photographie. Carré d'art contemperain, Musée d'art contemporain de Nimes, France, FR (curated by Nathalie Hoyos); Architecture display of Peter Bartos exhibition: Environmental Aesthethics, Fondazione Morra Greco, Naples, Italy, IT; Výťah-Elevator, Temporary Parapet, Bratislava, Slovakia, SK; LISTEN TO US – ARTISTIC INTELLIGENCE, Works of Deutsche Telekom Collection, Plovdiv, BG; Vladimír Havlík: Jako pták, guest of Vladimír Havlík's solo exhibition, Caezar, Olomouc, Czech Republic, CZ; 2018 – Sonda, Tendencies in Conceptual and Post Conceptual Art in SK and CZ, GHMP, Prague City Gallery, (curated by Vlad Beskid), CZ; 10, Viltin Gallery, Budapest, HU;...

SELECTED SOLO EXHIBITIONS: 2020 – CUM NATURA, 5th edition of Hydrozoa, Centraleuropean gallery, Banská Bystrica, SK (curated by Mira Keratová); EGO IN HABITAT, Gilda Lavia, Rome, IT (curated by Tiago de Abreu Pinto); SHE WAS UNAWARE OF HER BORDERS./EGO INHABITAT, HDLU, Bacva Gallery, Mestrovic Pavilion, Zagreb, HR (curated by Branka Bencic); FABVLAE, Villa D'Este, Santuario di Ercole Vincitore, Tivoli, IT (curated by Andrea Bruciati); 2019 – LEBENSWELT, Significant Other, Vienna, AT (curated by Jen Kratochvíl); BLU, with Renata Boero for Gilda Lavia Gallery, Miart, Milano, IT; 2018 – Artissima for Gilda Lavia, together with Pamela Diamante PERSONALE, Gilda Lavia, Rome, IT; KLAVIATURA, VILTIN Gallery, Budapest (in the frame of Gallery Weekend Budapest), HU; I AM LOSING MY BEAUTY TOGETHER WITH MY INTEREST IN BEAUTIFUL THINGS, Baril, Cluj, RO; BECOMING ANIMAL, TENDERPIXEL, London, with Nicolas Lamas, curated by Borbala Soós, UK; 2016 – SYSTEMS, INDIVIDUALS AND MEASURING TOOLS, Bòlit. Centre d'Art Contemporani. Girona, SP; SURVIVALS, RELICTS, SOUVENIRS, Apoteka, Dignano, HR; AN EXHIBITION ON DOUBT, MAN_Museo d'Arte Provincia di Nuoro; POLITICS OF LIFE, (FROM ARCHIVE OF KVĚTA FULIEROVÁ), amt _ project; 2015 – PETRA FERIANCOVÁ, ArtVerona, Verona, Italy, IT; VULNERABLE, YET EVERLASTING (ARCHIVE OF KVĚTOSLAVA FULIEROVÁ) Viltin Gallery, A Check Your Head! project, Off Biennale, Budapest. HU; 2014 – THINGS THAT HAPPEN, AND THINGS THAT ARE DONE. ON BEGINNINGS AND MATTER. Fondazione Morra Greco Napoli, IT; EVERY DAY HAS ITS NOON, amt _ project, Bratislava, SK; 2013 – BIRDS, MYTHS and TUSKS, Frame, Frieze London, UK; THE INTRIGUES OF THE GODS ARE BEHIND EVERYTHING, Vojtech Loffler's Museum, Košice, SK; STILL THE SAME PLACE, (together with Zbyněk Baladrán), Czech and Slovak Pavilion, Giardini, 55th Venice Bienale, IT; Solo presentations at ARCO, Madrid, SP; ...

AWARDS, ARTIST RESIDENCES & FESTIVALS: 2019 Premio Level 0, ArtVerona; 2015 Premio Level 0, ArtVerona; 2010 Winner of OSKAR CEPAN AWARD;

2011 ISCP, International Studio & Curatorial Program ISCP, New York, USA

Statement

Curatorial statement

Petra Feriancová (1977, Bratislava) is a multimedia, conceptually oriented artist who works with video, objects, installation, and primarily photography, her own as well as found. She graduated from the Accademia di Belle Arti di Roma (1998–2002), later earning her PhD from the Academy of Fine Arts and Design in Bratislava (2016). A large part of her oeuvre is based on her work with the archives of her relatives ‒ her father, aunt, grandfather. A part of this“personal archeology”is formed by a close, even intimate relationship with the material; the great gap in time however allows the artist to work with the necessary distance. The found family photographs or reproductions collected from magazines, usually old issues of the National Geographic, are freely, associatively regrouped, the artist looks for meanings different than those originally intended. Typical of Feriancová is a cyclical quality ‒ she repeatedly revisits the material she works with and investigates it from different angles. She also focuses on critical reflection of the museum as an institution that preserves and represents objects and information. Following up on the question of “the death of the museum”, she intensely works with books which to her represent a self-contained medium of exhibition and visual art. She usually conceives the catalogs of her own exhibitions as artworks that complete the project's content. With her performances, the artist upsets the traditional context of photographs, texts, objects, situations, and in this way takes the spectator out of the preprogrammed mode of perception and reading of meanings. The deep layer of her oeuvre contains the universal themes of the passing of time, human dreams and desires, fragility and meaning of life. She won the Oskár Čepan Award in 2010, the finalists ’exhibition took place in the Medium Gallery.