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Finalists

Èv van Hettmer

Luki Essender

Ondřej Houšťava

→ Portfolio

Tamara Kametani

Viktorie Langer

Archive

26. 4. 2021

The international jury selected five finalists for the Oskar Čepan Award 2021

→ Press releases – download

31. 3. 2021

OSKAR CEPAN AWARD OPEN CALLS 1 FEBRUARY

→ News release

31. 3. 2021

Oskár Čepan Awards in Kunsthalle Bratislava!

→ press releases

12. 3. 2021

Jury – Jan Verwoert

12. 3. 2021

Jury – Margot Norton

12. 3. 2021

Jury – Edith Jeřábková

12. 3. 2021

Jury – Kathrin Bentele

11. 3. 2021

Jury – Søren Grammel

→ www.soeren-grammel.info

Ondřej Houšťava

CV

EDUCATION

2018 – 2020 Mgr.Art at Academy of Fine Arts and Design in Bratislva (SK)

– Intermedia dept.- 2019/2020, VVV Studio (doc. Mgr. art. Martin Piaček, ArtD.)

– Intermedia dept.- 2019/2020, Ateliér hostujícího profesora (Pavel Brăila)

– Intermedia dept.- 2018/2019, IN Studio (Doc., DLA, akad. mal. Ilona Németh)

– Intermedia dept.- 2018/2019, IN Studio (Mgr.art Jaro Varga, Art.D)

2017 – 2018 Accademia di Belle Arti Frosinone (IT) Media art dept.

2014 – 2018 - BcA. at University of Ostrava, Faculty of Fine Arts (CZ)

Painting dept.- 2014 – 2018, Studio of Painting (Doc. Mgr. František Kowolowski)

Awards and lectures

2020, Finalist of StartPoint Prize 2020

2020, Award of the Rector of AFAD, for diploma thesis

2019, Office for Contemporary Art at Pohoda (curated by Ilona Németh) lecture/ CONTEMPORARY ART IS COUNTERCULTURE

2019, Cultural centre do sveta, Liptovský Mikuláš lecture/ Queer archeológia zabúdania

Exhibitons

2020 STARTPOINT 2020 (Prize for European Art Graduates, Kampus Hybernska, Praha)

2019, Office for Contemporary Art at Pohoda (Festival Poda, Trenčín, SK)

2020 If you continue like this I will make you disappear (Medium Gallery, Bratislava)

2019 Humid Intimacy (A.M.180, Praha)

2017 Nyctophila (Cabinet 217, Ostrava)

2017 Search for the border of painting in the post-media environment, (PRFR, Bratislava)

2018 Land of Thousand Dancers (Podlaha Gallery, Ostrava)

Statement

In the last several years my work revolves mainly around the exploration of problems how to meaningfully and intelligibly communicate complex topics related to my interest, in theory, social issues of minority policy, and a whole web of interrelated topics such as ecology and economics. Specifically, I am interested in ecological and social crises/conflicts culminating in the disintegration of political imagination. While working I like to think along with queer and decolonial theory as a catalysator which offers alternative ideas of future/present as well as varied emotional scope with which to think and process

While studying intersections of queer theory, trans studies, and decolonial theory I am specifically interested in chronopolitics and the possibility of constructing another type of embodied temporality through the disruption of dominant normative historical narratives by the subversive force of queer performativity – which I do not consider an aesthetic canon or sexual identity but rather as an original political and philosophically productive acreage of subcultural practices and alternative relationships to space and time, as another type of care of oneself and others.

Curatorial statement

Interdisciplinary artist Ondřej Houšťava creates performances, videos, and sculptural installations which focus on themes of resistance and transmutation. -- “Interdisciplinary artist and writer Ondřej Houšťava creates performances, videos, and sculptural installations which focus on themes of resistance and transmutation. They give access to socially suppressed knowledge via archival displays, text and object assemblages, or spoken word pieces. Building on queer and decolonial theory, Houšťava‘s commanding video installation Preparation for A Public Hearing (2020), incorporates strategies of refusal and asynchronicity to counter dominant strategies of oral narration. He shows how the fight against discrimination needs to involve a public presence over histories of embodied knowledge and ways of life that hetero-normative nationalist societies have been violently silencing for too long.” (Margot Norton, jury member)