image text special

'Broken Hearted Wine' by Anežka Hošková at Berlinskej Model, Prague

article image; primary-color: #C8C4BB;
article image; primary-color: #B2A592;
article image; primary-color: #C1BCB8;
article image; primary-color: #CFC8C2;
article image; primary-color: #E1D5C5;
article image; primary-color: #D1C4BB;
article image; primary-color: #B0A498;
article image; primary-color: #D6C9C0;
article image; primary-color: #B5A99D;
article image; primary-color: #A5A3A4;
article image; primary-color: #BCB8B7;
article image; primary-color: #B3ACA2;
article image; primary-color: #AEAEAE;
article image; primary-color: #D8CBC2;
article image; primary-color: #C1B7AD;
article image; primary-color: #DCDADB;

In spring time

When you haven't got a dime

Yeah, in spring time

And life seems a crime

Come on over

Cry on my shoulder, and drink

Broken-hearted wine

Tastes fine

In the spring time

Broken-hearted wine

Tastes fine

So you finally see her face at last, and the pain will never pass

You thought she was the only girl in the whole wide world for you

You can come on over

Cry on my shoulder, and drink

Broken-hearted wine

Tastes fine

In the spring time

Broken-hearted wine

Tastes fine

So you don't know what to do

There's just one cure for you

In spring time

When there isn't any reason

Or rhyme

To thinkin'

That you'll be mine

So come on over

Cry on my shoulder, and drink

Broken-hearted wine

Tastes fine

In the spring time

Broken-hearted wine

Tastes fine

In the spring time

-

It is said that left-handedness implies a much more developed level of emotional feeling - those who prefer the left hand are more sensitive and susceptible to various emotional fluctuations in the collective conscious than those who are right-handed. Anežka Hošková is apparently not afraid to manifest these animal and natural emotions. Indeed they are an indispensable part of her. 

Anežka Hošková is a collector of emotions - moving along the border of mindful melodrama she reveals her great strength: an ability to portray what has been natural to humanity from time immemorial. 

Each of us builds layers upon layers before themselves. We isolate ourselves to not feel or perceive and hopefully not appear silly. It is exactly this stereotype Hošková demolishes.

She is authentic, balancing installations with a number of different media, painting, drawing or performance. The bizarre and perverse is not derisive but rather proves much of what one denies. 

To be one’s own self. To perceive oneself. The predominance of one side over the other should not destroy the most natural path, the path of the heart. 

— Tea Záchová

12.6.19

guest / collab w/ Tomáš Kurečka / special collab w/ Jakub Hošek

Text: song by Codeine, Tea Záchová

Photo by Jakub Hájek, František Hanousek

Berlinskej model

'Extra Medium' by Vladislav Markov at Spazio ORR, Brescia

'Her Own Devices' by Laurie Kang at Franz Kaka, Toronto

'THE MOUTH OF THE GIFTED HORSE' by Wisrah Villefort at Goswell Road, Paris

'FRESH' by Rune Bering and Kevin Josias at Tableau, Copenhagen

Armen Avanessian: ‘So let us ask, why we still call this a capitalist world?’

'Dream again of better Generationenvertrag' by Niklas Taleb at Lucas Hirsch, Duss

'TOYS' by Jascha Schieche at FONDA, Leipzig

'YOU ARE HERE' by Linda Lerseth at Podium, Oslo

'Space Almond Head Void' by Sasha Auerbakh at GOMO, Vienna

'UwU' by Tea Strazicic at ung5, Cologne

'Friends Objects' by Helin Alas at Loggia, Munich

'Talent Didn’t Bring Me Here' by Günther Möbius at BPA Space, Cologne

'P**** B**** ARENA' by Isabelle Frances McGuire at Good Weather (Hosted by Et al.

'Flat Tire' by Janis Dzirnieks at Robert Fruinstraat 56, Rotterdam

'Sheets of Past and Layers of Reality', a Group Show at Hoib, Tallinn

Garden Cult Triennale, Chapter I: Sopot, Poland

'踢館 Tek Kwun' at Tai Kwun Centre for Heritage and Arts, Hong Kong

'Theological Time, Mean Landscape, Circumcision Throne, Burping Bird, Auto-censur

Next Page