One of the lines of the work of Stano Masár focuses on the dialogue with the world of art, the investigation of the context of its functioning in an institution and outside it as well as on the comments on individual artworks. In 2004, he created the very first series of pictograms called Global History of Art. Out of the History of world art, he chose 54 well-known works from renaissance to contemporary art and “translated” them into a schematic, simplified language of pictograms. The term ”global” in the name refers to the way we prefer giving and receiving information – the short, simplified, unified way. The language of a pictogram thus represents the identification with this way of communication. After having appropriated this language, a new sign structure is created (both visual and meaning) working with the reference to the original models and accentuating the communication of a crucial or visually strong detail of the work. And so, a new formation emerges at the border between the world of art and non-art. Within this context, in 2006, the author worked on a series of pictograms called Slovak Visual Art of the 20 th Century and since 2010, he has been adding new works to the series. In 2018, he finished a new cycle of pictograms of Czech and Slovak art called CS Art Today commenting on the works of a hundred of Slovak artists since the second half of the 20 th century until today. For Nuit Blanche, an animated version of this cycle was created. The author plays short movement shots within the context of individual pictograms, sometimes interconnecting them with the original works in an interesting way. The author of the animation is Mária Oľhová.
Supported by Czech embassy and Czech centre in Bratislava.
Stano Masár (*1971, Bratislava) graduated from his PhD studies at the AFAD in Bratislava. In his work, he purposefully disrupts the fragile form of subjects of the everyday reality and doing so, he enables to escape the ordinariness of living. Into the language of pictograms, he transforms historical and contemporary world and local artworks. After having critically analyzed the history of arts, and after having destroyed and transformed the objects, he critically addresses the institutions as such as well as the world of art. He exhibits an empty corner of TATE Modern, a wall from MoMa, but also a waiting room for the ideas of artists. He lets an unpainted picture aimlessly wander in the gallery. He empties the gallery spaces, builds an empty gallery in a gallery, warns of the end of an exhibition, encourages the visitor to escape the gallery, he systematically paves the way for the end of art. (an extract from the text by Juraj Čarný)
Mária Oľhová graduated from the School of Applied Art in Kremnica and studied animation at the Academy of Performing Arts in Bratislava. During her studies, she spent a few months at Escola de superior de theatro e cinema in Lisbon, Portugal as part of her practice. She was awarded the IGRIC prize for her bachelor movie and her graduate movie called Bublina (The Bubble) (2012) was awarded as the best animated movie with the best production at the Áčko festival in Bratislava. Her movies were projected at festivals such as the Monstra festival in Lisbon, Anifilm in Třeboň or at the festival of student movies called VGIK. Mária is currently co-working at the animated series called Mimi a Líza for the Fullmoon company and is preparing her newest short film called Fifi Fatale.