The work of Anna Daučíková may appear, according to the traditional academic canon, as non-homogenous. Searching for form of expression of subjective content and establishing persistent civil battle is a natural form of artistic development for her. A fundamental break point in her artistic work happened, as she says herself, when she turned 40 and saw a video projection in Switzerland in 1994 for the first time presented as fine art, and at the same time she started to knowingly work with an event/story. It was in this context that the title for the interview of Milena Bartlová wih Anna Daučíková for the magazine Art & Antiques in 2015 I Was Born at the Age of 40 originated.
Her approach to her work is serious and inquisitive. She describes her first experience with art when she was working in the Avant-garde theatre in Břevnov in Prague, where she met Miloš Horanský and František Hrdlička. That was where she gained her first performance experience from the atmosphere of the underground, living-theatre, wild screaming and improvisation without any dramaturgy.
Daučíková’s study of Glass in Architecture with Václav Cigler influenced the form of her work in the spirit of concept, land-art and geometry. Her graduating from this studio had a rather formal influence on her work and was supposed to serve as the entrance ticket to the world of art. That eventually became her twelve-year stay in Moscow. The departure of a young girl to Russia at a time of the totalitarian regime became an issue, which Anna continues to encounter with respect to her life and work. The reasons for her move were personal, although from today’s perspective, with respect to her art work, they were irreplaceable. Several of her photographic cycles originated during her Moscow period. Relating to her study of glass she created a series of conceptual photographs of glasses in which she described relational possibilities through various compositions. Among others, she chose as her main glass object the Soviet mustard glass, which is in itself a more sociological than material object. This cycle already contains a hint of social examination and observation. Another series of a documentary situation is of Muscovites leaving their glasses on a tree overnight for the next party. She expanded the local tradition by a small intervention – she added several glasses made from better quality glass to the mustard glasses and she made a record of the adjusted readymade.
Her photographs of women from Moscow – Moscow/Women/Sunday ‘1989-1990’ did not find their way to an audience until 20 years later at the exhibition Gender Check in Vienna. It was a documentary socio-probe fed by her own interest in examining the situation. On a Sunday afternoon the only visible residents of Moscow were women. She captured the unusual atmosphere created by women with their shopping bags moving through the streets of the city, while “the men were sleeping off their Saturday night fever”.
Upon her return from Russia to Slovakia she participated in forming an open society. One of these steps included her cooperation on the founding of the feminist magazine Aspekt. In the second half of the 1990s she participated in the festivals of performance in Nové Zámky.
Between the years 1998 and 2002/2003 she returned to Moscow as an observer. She expanded her intimate view of details to capturing exteriors. These photos show scenes depicting the phenomenon of poverty. She calls her approach of distant scanning of reality ordinary voyeurism. These works include Piano Trio in B Flat, 3.40 min 2004. A trio of ordinary Muscovites spending their day by the water are captured by her from the other bank of the river. After a moment of watching this situation from a distance, it becomes clear that the only working participant is a woman with no legs while her companions are drinking something. Another picture that belongs in this category is Wie geht as Ihnen? (2004) which shows a woman, once again, who is begging on a busy street in Vienna having prepared a professional story. The video is filmed from a far enough distance so that the object observed is not disturbed from her natural behaviour.
Detail shots and interiors appear in the short film Malholandrajv, 3.47 min, 2003 in which she paraphrases the lesbian scene, which is interpreted in David Lynch’s film from the view of a man. She retained the sound and added her own visual picture. An authentic corporeality is the saturated picture Chtonický pozdrav pre C. Paglia from 2006. It is a shot of a kitchen sink in which someone’s hands are washing a dark lid accompanied by the increasing sound of the process.
The project 33 situations – fragments from her life in Moscow – originated out of the intention to make a non-political video. In this video-essay with which she is represented at the Kiev Biennale, she scans with her camera the facades of tile buildings. The exterior and the surfaces of architecture are accompanied by a narration about the “inner”’ existence of individuals – a small group of artists and intellectuals around the remarkable personality of Valeiy Lamach.
Her experience from travelling to and living in another place other than the West is an invisible quality, which resulted in a sensitive approach to man and his being in the work of Anna Daučíková. Thanks to her personality and work, she belongs to the group of artists who fundamentally influenced the development of the Czech as well as the Slovak art scene.
Anna Daučíková
aka: Anchan
Profesní životopis:
2021–2022
Salzburg Summer Academy, kurzy Fragility and Resilience: Queering Strategies Revisited (2022), Queering and Survival (2021)
2013
prorektorka pro vědu, výzkum a mezinárodní vztahy, AVU
2010
vedoucí pedagožka AVU, Nová médiá II, Škola Anny Daučíkové
2007–2013
vedení Ateliéru videa a multimediální tvorby na Katedře intermédií a multimédií, VŠVU
2006
habilitovala s titulem docentka na Akademii výtvarných umění v Praze
2003–2007
vedoucí Sekce multimédií Institutu umění a vědy na VŠVU s výukou odborného předmětu Videotvorba – Obraz v pohybu
2002–2010
prorektorka pro zahraniční vztahy, VŠVU
1999–2002
asistentka na Katedře grafiky, VŠVU
Členka správní rady, tranzit.cz
Absolvovaná studia:
1977
VŠVU Bratislava, Ateliér Sklo v architektuře, pod vedením doc. Václava Cíglera
Stáže, tvůrčí pobyty:
2001
Fulbright Research Fellowship, Rutgers University, New Jersey, USA
2000
KulturKontakt Austria, Vídeň, Rakousko
1999
Pollock-Krasner Foundation, New York, USA
1994
ARTEST, Scuol – Nairs, Švýcarsko
Ocenění:
2018
Schering Stiftung Art Award
2023
Playbill Act V: Anna Daučíková & Helena Jiskrová, Playbill, Amsterdam
2022
Citational Choices, La Trobe Art Institute, Bendigo
Anna Daučíková, My Mental Body, Revolver Publishing, Berlín
2019
Collective Exhibition for a Single Body Pierre Bal-Blanc, Paraguay Press, Paříž
Straying from the Line, Schinkel Pavillon, Berlín
2018
A_nna D_aučík_ová : Trans_formácie = Trans_formations, (ed. Monika Mitášová), Slovenská národná galéria, Bratislava, ISBN: 978-80-8059-213-4
2017
Anna Daučíková (výstavní katalog), Futura Books, Praha
KONTAKT, Verlag der Buchhandlung Walther König, Kolín n/Rýnem
2016
Anthony Auerbach, Daučíková, Daučíkov, A., Anna, aka Anča, A4, artist, author, EROS Journal, Londýn. Dostupné z: http://vargas.org.uk/artists/anca_daucikova/daucikova_auerbach_text.html
Michal Novotný, Rozhovor s Annou Daučíkovou, Futura, Praha
The Cunt Tavern (výstavní katalog, texty – Anthony Auerbach/Steve Finbow/Marlene Haring)
The Function Room/Vargas Organisation, Londýn (s. 24-25)
2015
Anna Daučíková v rozhovoru s Christiane Erharter, Pink Labor on Golden Streets: Queer Art
Practices, (ed. Christiane Erharter, Hans Scheirl, Dietmar Schwärzler, Ruby Sircar), Sternberg Press, Berlin/Academy of Fine Arts, Vídeň (s. 186–195)
Anna Daučíková: ‘Three Scenes and other works’ in n.paradoxa, international feminist art journal, 36/July 2015 (Humour) (s. 32–37)
2014
Scene Book, Vargas Organisation, Londýn
2006
Katarína Rusnáková, História a teória mediálneho umenia na Slovensku, Vysoká škola výtvarných umení (VŠVU), ISBN 80-89259-04-9
2024
Martina Fridrichová, Anna Daučíková v Tate Modern: Expedice do jeskyně a zpátky, Flash Art.
Dostupné z: https://flashart.cz/2024/10/05/anna-daucikova-v-tate-modern-expedice-do-jeskyne-a-zpatky/
Anežka Bartlová, Anna Daučíková: Pro mě je maskulinita svým způsobem hra, Artalk, rozhovor.
Dostupné z: https://artalk.info/news/anna-daucikova-pro-me-je-maskulinita-svym-zpusobem-hra
2020
Agosto Foundation: mediateka, Anna Daučíková: 24 Kisses (Flight To Let Z), rozhovor.
Dostupné z: https://agosto-foundation.org/cs/anna-daucikova-24-kisses-flight-to-let-z
2019
Noemi Smolik, Anna Daučíková, KW Institute for Contemporary Art, Artforum
Dostupné z: https://www.artforum.com/events/anna-dauikova-245707/
Quinn Latimer, Anna/Anča Daučíková, Frieze, Issue 200
Dostupné z: https://www.frieze.com/article/quinn-latimer-annaanca-daucikova
Jana Močková, Všetci sme na tom svojím spôsobom rovnako. Aj keď to tak politicky nie je, hovorí Anna Daučíková, Denník N
Dostupné z: https://dennikn.sk/1679368/vsetci-sme-na-tom-svojim-sposobom-rovnako-aj-ked-to-tak-politicky-nie-je-hovori-anna-daucikova/
Emily Watlington, Anna Daučíková Explores the Body Through Glass, Artnews
2018
Michael Hauffen, Anna Daučíková, Springerin
Anna Vartecká: Anna Daučíková – Portraits of a Woman with Institution, Profil
Dostupné z: https://www.profilart.sk/wp-content/uploads/2018/06/76-83-Daucikova.pdf
Profil 1, 2018, (s. 76-83)
2016
Martin Vrba, Pavel Sterec, Tělesnost, která není objektem, Alarm
Dostupné z: https://denikalarm.cz/2016/04/telesnost-ktera-neni-objektem/
2015
Milena Bartlová, Anna Daučíková, Narodila jsem se až ve čtyřiceti (S Annou Daučíkovou o videu, Rusku a politickém umění), Art + Antiques, rozhovor, 3, s. 24-31.
Dostupné z: https://www.artantiques.cz/narodila-jsem-se-az-ve-ctyriceti
2012
Vendula Fremlová, Hidden Publics, Ateliér, čtrnáctideník současného výtvarného umění
1992
Jiří Valoch, Téma naší výstavy je zdánlivě jednoduché…, Písmo v obraze
2026
Kino GAVU: Ančan / Anna Daučíková, Akademie výtvarných umění v Praze, Praha
2025–2026
Komunální televize (s Petrem Watkinsem), Display, Praha
2025
The Grammar of the Gaze, Trafó, Budapešť
2024
Expedition for Four Hands, Tate Modern, Londýn
2022
Anna Daučíková, Secession, Vídeň
2021–2022
Ó a ach a uf. Něco víc k pokrevní pří-buznosti, PLATO, Ostrava
2020
Anna Daučíková, Project Arts Centre, Dublin
2018
Anna Daučíková, Gandy Gallery, Bratislava
Jekaterina’s Night Work, lítost, Praha
V zornom poli, Galéria Medium, Bratislava
FOR (s Assafem Evronem), The Neubauer Collegium for Culture and Society, Chicago
2017
Politiky gest, Dům umění Ústí nad Labem, Ústí nad Labem
3 Works, Open Gallery, Bratislava
2014
Thirty-three Scenes, The Function Room, Londýn
video works, Gallery TIC, Brno
2013
Anamnézy, Galerie TIC, Brno
2011
Old Matters, Stredoeurópsky dom fotografie, Bratislava
2007
eastwest se/x @Foyer KHM, Hochschule für Kunst und Medien, Kolín nad Rýnem
2001
Muzeum Vojtěcha Löfflera, Košice
2000
CC Centrum, Bratislava
1998
At Home Gallery, Synagoga, Šamorín
1995
Práce ze Scuol-Nairs 1994, Brno
1994
Binz 39, Curych
1985
Moskva, Muzeum ochrany přírody
2026
A Tale of A Tub, Takes on Transparency, Rotterdam
“…each thing is itself in not being itself, and is not itself in being itself…”, Layr, Vídeň
2025
The Flicker, Kunstverein Grafschaft Bentheim, Neuenhaus
2021
Compassion Fatigue Is Over, Galerie Rudolfinum, Praha
An Incomplete & Unreliable Guide to Social Media War Room, Georg Kargl Fine Arts, Vídeň
The Endless Frontier, Contemporary Art Centre (CAC), Vilnius
2020–2023
Posledních padesát let, Galerie moderního umění v Hradci Králové, Hradec Králové
2020
O čem mluvíme, když mluvíme o rodině, Dům umění Ústí n/Labem, Ústí nad Labem
DYKWTCA, When We First Arrived …, Washington
2019
Straying from the Line Schinkel Pavillon, Berlín
2018
Circular Defense (se Zbyňkem Baladránem), CarrerasMugica, Bilbao
Sleeping with a Vengeance, Dreaming of a Life, lítost, Praha
Sleeping with a Vengeance, Dreaming of a Life, Yellow Brick, Atény
2017
Czechoslovakia – 25 Years of Passion, Gandy gallery, Vienna Contemporary, Vídeň
Thirty-three Situations, documenta 14, Kassel
Czechoslovakia / A Critical Reader, Gandy gallery, Bratislava
2016
The Cunt Tavern, The Function Room, Londýn
Universal Hospitality, Alte Post, Vídeň
Care for Architecture: Asking the Arché of Architecture to Dance, Czech and Slovak Pavilion, Venice Architecture Biennale, Benátky
2015
School of Kyiv, Kyiv Biennial, Kyjev
Die Schule von Kyiv, Badischer Kunstverein, Karlsruhe
Feminismen: The Video Art Collection of Neuer Berliner Kunstverein, Nordstern Videokunstzentrum, Gelsenkirchen
Fem(inist) Fatale, Kunsthalle LAB, Bratislava
Russia is a Man: Muda Mathis and Sus Zwick s Ančou Daučíkovou, Ausstellungstraum Klingental, Basilej
2014
Pozor! Kalte grenze, Die KunstSammlung des Landes Oberösterreich, Linec
2013
Good Girls, MNAC Bukurešť
2012
Hidden Publics, Galerie Emila Filly, Ústí n/Labem
ROSA ARBEIT AUF GOLDENER STRASSE, Gallery Xhibit, Akademie der bildenden Künste, Vídeň
Crazycurators Biennale IIII. Galerie Prostor, Bratislava
20 Years: KKA Artists in Residence, Vienna Art Fair 2012, Vídeň
What a Material: Queer Art from Central Europe, Gallery P.A.X., Amsterdam
2011
Pražské Bienále 5, Praha
Mapy/Maps Umelecká kartografia v strede Európy GMB, Galéria mesta Bratislavy, Mirbachov palác, Bratislava
Nulté roky, Považská galéria umenia v Žiline, Žilina, Dom Umenia, Bratislava
2010
Gender Check – Femininity and Maskulinity in the Art of Eastern Europe, Zacheta National Gallery of Art, Varšava
Ars Homo Erotica, National Museum, Varšava
Formate der Transformation 89–09, MUSA, Vídeň
2009
Kunst und Öffentlichkeit, 40 Jahre Neuer Berliner Kunstverein, Berlín
Gender Check – Femininity and Masculinity in the Art of Eastern Europe, MUMOK, Vídeň
In Space and Time, Galéria mesta Bratislavy, Mirbachov palác, Bratislava
2008
Projected looks / Premietnuté pohľady, Apollonia Center, Štrasburg
2007
Video as an Urban Condition, Lentos Museum, Linec
2006
Autopoesis, Slovenská národná galéria, Bratislava
Old affairs / New contents, Academy of Applied Art and Architecture, Praha
2004
Danube Streaming, Quarter 21, Vídeň
2003
Mam a klam, Open Gallery, Bratislava
Dupľa, Open Gallery, Bratislava
Cígler a jeho absolventi, Slovenská národná galéria, Bratislava/Mánes, Praha
2002
„Neue“ Slowakische Kunst 1936-2001, Kunsthalle Exnergasse, WUK, Vídeň
Female Geographies s CulturForum Austria, Londýn
Nette homos – oder wer bestimmt was wir sehen? Kaskadenkondensator, Basilej
Her story Her body Her memory, Galerie La Serr –Beaux Art, Saint-Étienne
Convexe/Concave, Státní galerie Banská Bystrica, Banská Bystrica
2001
Koniec minulého storočia,Státní galerie Banská Bystrica, Banská Bystrica
Videoart Marathon, Art in General, New York
In/time, Považská galéria umenia v Žiline, ŽilinaNew Art, Galéria Jána Koniarka, Trnava
Umenie akcie 1989 – 2000, Nitrianska galéria, Nitra
Kolmo k ose, Dům umění, Opava
2000
Slovenské umenie 20. Storočia, Slovenská národná galéria,Bratislava
Public subject, Bratislava
Quadrat, Bialo-Bialske, Ostrava, Čadca, Szölnok
1999
3+1, Gallery UBS, Bratislava
1998
It, Galéria mesta Bratislavy,, Pálffyho palác, Bratislava
2005
KOM/MA Düsseldorf
2004
12th Feminale Kolín n/Rýnem
1999
Dreamer Constructions, Avant-guard Films and Videos from Central Europe, Cinema Toldi, Budapešť
1998
Avant-guard Films and Videos from Central Europe, Lux Centre, Londýn
Národní galerie Praha
Ludwig Múzeum
Kontakt Collection
Centre Pompidou
