Klára Hosnedlová
To Infinity

Mar. 4 - June 4, 2023

Klára Hosnedlová. To Infinity, 2022
Klára Hosnedlová, To Infinity, 2022, detail view, courtesy the artist, Kraupa-Tuskany Zeidler, Berlin

For her first institutional solo show, Klára Hosnedlová metamorphoses Kestner Gesellschaft’s organic interiors into labyrinthian interiorities, laboriously modelling spatialities of voyeuristic surfaces - oblique mirrors of humanoid selves. Her monumental performative sculptures, suspended like clouds of opaque matter, are incubators of corporeal poetry, generous habitats for miniature images of a fragmented world at the brink of exhaustion. There it is: a mise en scene of the ecology of intimacy in a claustrophobic womb of overexposure.

Alien forms in amorphic spasm, or post-bodies in rebirth? Klára Hosnedlová’s haunted landscapes of corporeality ignore gravity of sense and its deranged mathematics. Instead, their governmentality masters the librettos of critical nostalgia and a rejuvenated pathos. Is it a promise of a long-forgotten trust in times of unconditional love, once the only password to a desiring machine of our organs? Is it a doubt, hovering above the whimsical romance of our dreams of infinity? Time is neither virtual nor palpable; a growth occurs beyond a temporal measure. This is a universe of post-romantic cyborg-like hybrids of an immortal drive. Space is a mental caprice; ever-transformative, fluid sensation of seduction, composed of illusionary depths and irregular alliances. Hosnedlová’s is a shamanistic rite of a renewal and redemption, an alchemic tale on a surgical table of a phantasmagoric cocoon, an emballage of a dream. We are in a realm of initiation: a possible and necessary, new genesis of the post-human and post-nature.

Getting under the skin of a pictorial field, the artist performs a mirage of a painterly image: narrative gestures of a stitching process, elaborated with care and precision of a surgeon and a storyteller, trick the perception and deceive the senses, generating a suspense of disbelief. Meticulously layered, silk threads on a smooth surface of a canvas resemble the subtle movements of brush strokes, producing a dense texture of a unique, estranged nature, a zone of fragility with almost relief-like visual effect. Alienation through a method, and a fragmentation of a story leave an image at its utmost affect, an unspoken, yet nearly epiphany-like stage. We oscillate between the concealment and revelation, on a threshold of the visible; in an autonomous zone of a sensual contamination, between resilience and perseverance, glamour and violence, the perennial and ephemeral.

As such, Hosnedlová situates her hybrid practice at the multi-confluence of craft, fashion, design, architecture, sculpture and performance. Inspired by modern and brutalist architecture of Central-Eastern Europe and folkloric Bohemian textile traditions, the artist choreographs complex, immersive environments of a striking cinematic and theatrical quality that recall capsules of time, planted for undefined moments of the futurity.

Born 1990 in Uherské Hradiště, Czech Republic, Klára Hosnedlová attended the Academy of Fine Arts in Prague (2009 - 2016), and is currently pursuing her doctoral studies at the Faculty of Fine Arts in Brno. She lives and works in Berlin.

Her work has been exhibited in numerous group exhibitions at X Museum, Beijing (2022); Art Basel Parcours, Basel (2021); Meyer Kainer, Vienna (2021); Baltic Triennial 14: The Endless Frontier, Vilnius (2021); The 54th October Salon Belgrade Biennial (2021); The 7th Athens Biennial (2021); Kraupa-Tuskany Zeidler, Berlin (2020); Berghain, Berlin (2020); Fondation Cartier, Paris (2019); Prague National Theater (2018); Villa Tugendhat, Brno (2017); hunt kastner, Prague (2016); National Gallery Prague (2015). She is currently participating in the 16th Lyon Biennale (2022).

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