The process of making the exhibition happen took a long time.
We talked a lot about this space, the concept, and how we wanted it to look like.
It's about our personal programs that essentially meet, merge, and communicate with each other.
One of the big installations here is dedicated to the city of Žilina.
It's an artwork consisting of concrete plant pots that were discarded from the public space.
We acquired them thanks to Marek Adamov from the city deposit.
That's one of the largest things we made happen here.
It's urban nature.
Daniel Grúň offer himself as a curator for this collaborative project, we treat it as a joint exhibition becasue of how our art merges.
Daniel entered the process with a very descriptive text that talks about the exhibition as a whole, but also about separate artworks.
There's twelve of them overall.
For example this installation is accompanied by my entry of a sound installation, so we mix things up in the entire space.
Matej entered the exhibition with a distinctive sculptural take on it, while I focus more on the audial side.
The aucustic properties of the space invite me to work with something that can be created here.
I recorded the explosions in this space and then we reused them as recordings in the exhibition in certain compositions.
There's two types of sounds, one of them is generated by a gas powered cannon for scaring birds in vineyards.
I launched the cannon here, recorded the sound, and reused it in audio installation.
Another sound is the explosion of an airbag which also resulted in a video document in various speeds of recording - 50fps, 120fps, and 240fps.
So the time aspect is being disrupted as well and the acquired material is installed in the same positions as it was when being recorded.
I play with the time aspect in the installation, the videos are not synchronized.
Another artwork is called the Siren, and it utilizes an old mining siren that was used for announcing upcoming explosions.
It's accompanied by additional layers, it's a lot about fear as it plays a large role in the entire exhibition due to the age we live in.
Fear is a daily thing in our lives.
My artworks are within enclosed spaces and they present an impact of something, a transformation of various building materials,
leftovers from activities such as demolition, processing of stone or glass.
These processes create a footprint of expansion and I tried to work with that aspect in these installations while also connecting them to Jan's conception of sounds.
The architecture of this building has a strong feel to it, from the historical perspective it's a modernistic building
that has already been reconstructed and it has a minimalistic feel to it.
For us, it's been a container that holds various energies, but with a footprint of its past that hasn't been joyful.
Each exhibition needs to deal with that, the space is not neutral but deeply scared by the holocaust and our dark past.
It's always a strong emotion.
That's what this project is about.
I think the personal, physical experience is very important in what's happening in here.
We're inviting you to come.
Or maybe not... maybe not.