{"id":121858,"date":"2024-07-10T23:05:10","date_gmt":"2024-07-10T21:05:10","guid":{"rendered":"http:devel.artlist.cz\/artist\/kinterova-2\/"},"modified":"2025-02-03T15:41:13","modified_gmt":"2025-02-03T14:41:13","slug":"marketa-kinterova","status":"publish","type":"artist","link":"https:\/\/artlist.cz\/en\/umelci\/marketa-kinterova\/","title":{"rendered":"Kinterov\u00e1"},"featured_media":0,"template":"","class_list":["post-121858","artist","type-artist","status-publish","hentry","keyword-photography","keyword-post-conceptual-photography"],"acf":{"nicknames":"","date_born":1981,"date_death":0,"place_born":"Praha","lives":"Praha","web":"http:\/\/marketakinterova.cz\/","idatum":"","address":"T\u00e1borsk\u00e1 24140 00 Praha 4","email":"marketa.kinterova@volny.cz","phone":"+420 777 674 874","biography":"<strong>Studies:<\/strong>\r\n2010\r\nPh.D. in Photography, Academy of Arts, Architecture and Design in Prague\r\n2006\r\nMaster's degree, Photography department, Faculty of Art and Design, University J. E. Purkyn\u011b, \u00dast\u00ed nad Labem\r\n\r\n<strong>Awards:<\/strong>\r\n2005\r\nExit (art student competition) - 1. prize, \u00dast\u00ed nad Labem\r\n\r\n<strong>Residency stays, stipends:<\/strong>\r\n2008\r\nArtist in residence, Centro de la Imagen \u2013 FONCA, Mexico city, Mexico\r\n2006\r\nAritists-in-residence, Rotor - association for contemporary art, Graz, Austria\r\n2004\r\nresidency, Fachhochschule f\u00fcr Technik und Wirtschaft, Berlin, Germany\r\n2002\r\nresidency, Department of Art and Art History, University of Connecticut, USA\r\n\r\n<strong>Grants:<\/strong>\r\n2006\r\nProjekt Samizdat, Nadace pro sou\u010dasn\u00e9 um\u011bn\u00ed, Praha","groups":"","membership":"","exhibitions_solo":"2011\r\nHydroprojekt, Galerie Jelen\u00ed, Praha\r\n\r\n2009\r\nP\u0159\u00ed\u0161t\u011b je facka, festival Funkeho Kol\u00edn, D.I.V.O. Institut, Kol\u00edn\r\n\r\n2008\r\nSituace, Galerie Mlad\u00fdch, Brno\r\nProjekt Okno, Experiment\u00e1ln\u00ed prostor NoD, Praha\r\nObjekt v metru, Galerie V\u00e1clava \u0160p\u00e1ly, Praha\r\n\r\n2007\r\nSamizdat, Entrance gallery, Praha\r\n\r\n2006\r\nDarkside, galerie Futura, Praha\r\n\r\n2005\r\nDarkside, galerie Raketa, \u00dast\u00ed nad Labem","exhibitions_group":"2013 \r\nFestival Otets Paisy Street, Plovdiv, Bulharsko\r\nJejich fotografie, Galerie 1. patro, Praha (Prague)\r\n\r\n2012\r\nArtlink, projekt pro tramvaj, DOX, Praha\r\n\r\n2011\r\nInscena\u010dn\u00ed strategie, MeetFactory, Praha\r\nParaleln\u00ed historie, Severo\u010desk\u00e1 galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed, Litom\u011b\u0159ice\r\nIn optima forma, Galerie E. Filly, \u00dast\u00ed nad Labem\r\nStreet for Art, Ji\u017en\u00ed m\u011bsto, Praha\r\nJust so Stories, Revolutionary Art Project, Europe House, Tbilisi\r\n\r\n2010\r\nOne Day You Will Lose It All, 4+4 dny v pohybu, Praha\r\nTuhnouc\u00ed forma s m\u011bkk\u00fdmi okraji \u2013 sb\u00edrka Marek, Galerie m\u011bsta Blanska, Blansko\r\nTvo\u0159en\u00ed sv\u011bt\u016f, Galerie E. Filly, \u00dast\u00ed nad Labem\r\nFormate der Transformation 89\u201390., Museum auf Abruf, MUSA, V\u00edde\u0148, Rakousko\r\n\r\n2009\r\nForm\u00e1ty transformace, D\u016fm um\u011bn\u00ed m\u011bsta Brna, Brno\t\r\nCargo, Centralnyj dom chudo\u017enika, Moskva, Rusko\r\nAktualizacja.cz, festival M\u011bs\u00edc fotografie, Krakow, Polsko\r\nDruh\u00e1 sm\u011bna, Galerie Armaturka, \u00dast\u00ed nad Labem\r\n\r\n2008\r\n(Not) a Photograph, Municipal gallery, Piran, Slovinsko\t\r\nArtram, projekt ve ve\u0159ejn\u00e9m prostoru, Brno\r\n\r\n2007\r\nNeexistuju, kdy\u017e m\u011b nevid\u00ed\u0161, Futura, Praha\r\nPrague biennale 3, Karlin Halls, Praha\r\n\r\n2006\r\nScalo Books v Praze, Langhans galerie, Praha\r\nBillboart in the Public Space, Czech Centre, Bucurest, Rumunsko\r\n\u0160estka, Pra\u017esk\u00fd d\u016fm fotografie, Praha\r\n\r\n2005\r\nPeriferie, galerie V\u0160UP, Praha\r\nVoyer, galerie V\u0160UP, Praha\r\n\r\n2004\r\nStartpoint, Experiment\u00e1ln\u00ed prostor NoD, Praha\r\nLetadla, vlajky, Galerie Velryba, Praha\r\nM\u011bsto v sou\u010dasn\u00e9 \u010desk\u00e9 dokument\u00e1rn\u00ed fotografii, Fotobiennale, Moskva, Rusko\r\nKunst, Motorenhalle, Dr\u00e1\u017edany, N\u011bmecko\r\n\r\n2003\r\nNov\u00e1 m\u00e9dia, Cheb\r\n\r\n2002\r\nKonfrontace, Pra\u017esk\u00fd d\u016fm fotografie, Praha\r\nV\u00fdkv\u011bt, D\u016fm fotografie, Bratislava\r\nJunge fronta heute, Galerie E. Filly, \u00dast\u00ed nad Labem","realizations_other":"","collections":"","monographies":"","articles":"2009\r\nTu\u010dkov\u00e1, K.: Portfolio \u2013 Mark\u00e9ta Kinterov\u00e1, Art &amp; Antiques, prosinec 2009, s.\u00a028-29\r\nV\u00e1chov\u00e1, L. Funkeho Kol\u00edn, Ateli\u00e9r n. 22, 2009, s.\u00a016\r\nHavelkov\u00e1, J., Stopy a\u00a0z\u00e1znamy, katalog Funkeho Kol\u00edn, 2009, s.\u00a042\r\n\r\n2007\r\nZ\u00e1horansk\u00fd, D. Mark\u00e9ta Kinterov\u00e1, Se\u0161it, 2007, s.\u00a02\r\n\r\n2006\r\nBirgus, V. Glocal girls: Young Czech and Slovak women photographers, katalog, Praguebiennale2\r\n\u010cechlovsk\u00e1, M. Futura nab\u00edz\u00ed politick\u00e9 um\u011bn\u00ed, Hospod\u00e1\u0159sk\u00e9 noviny, 7. 3. 2006\r\nHa\u0161kovcov\u00e1, M. Podoby moci, zla a\u00a0teroru, Ateli\u00e9r n. 7, 2006, s.\u00a01\r\n\r\n2005\r\nSerranov\u00e1, M. Darkside, Fotograf #6, 2005, s.\u00a094\u201395\r\n\r\nProjekt Samizdat, Entrance Gallery, tiskov\u00e1 zpr\u00e1va: http:\/\/www.karlinstudios.cz\/tiskovky\/kinterova.htm\r\n\r\nProjekt Samizdat, rozhlasov\u00fd rozhovor: http:\/\/www.rozhlas.cz\/mozaika\/vytvarne\/_zprava\/352545\r\n\r\nDarkside: http:\/\/www.futuraproject.cz\/cz\/exhibitions\/darkside\/index.htm","reviews":"","texts_unlisted":"","annotations":[{"text":"<span lang=\"EN-GB\">Mark\u00e9ta Kinterov\u00e1\u2019s main role is of an observer. She is engaged primarily in conceptual photography often overlapping to public space. In photography, she is intuitively enticed by chance; she is not interested in the manipulation of digital image but rather in the daily trivial reality \u2013 real life that she sees. An important element of her work is site-specific projects where she actively intervenes in a specific space. She has been on several scholarships abroad (USA 2002 and Germany 2004) and on residential stays (Austria 2006 and Mexico 2008). While studying photography headed by Pavel Ban\u011bk at the Faculty of Art and Design in \u00dast\u00ed nad Labem, she was nominated for the EXIT award for her cycle <i>Darkside <\/i>(2005). With this series of photographs that is interlinked with the depiction of various forms of violence and evil intermediated through the media, she captivated the jury and obtained first place. These photos, where it is not clear whether they are shots from the evening news, industrial camera or film, evoke uncertainty and they are perturbing due the inability to decipher whether they are real or fiction.<\/span>\r\n\r\n<span lang=\"EN-GB\">The <i>Project Samizdat <\/i>(2006) was an active and Do It Yourself intervention in public space. The artist made, at her own expense, several copies of a magazine that she subsequently left for the random reader on the shelves of public libraries, clubs and coffee shops. She used a similar principle with Silvia Milkova in their collection of <i>Flyers <\/i>(2006), which they distributed during their residential stay in Graz. She also worked with flyers in her project <i>The Cause of Extinction <\/i>(2009), which originated during her residential stay in Moscow as a reaction to the smog and polluted environment. She appealed to a similar problem in Mexico with her collection <i>360\u00b0<\/i> (2009). The collection <i>Without Title (balloons) <\/i>(2009) also originated in Mexico. These photographs of church ceilings with blown up carnival balloons stuck in them, reflect the different culture, customs and traditions. The contrast between the world of faith and the world of entertainment evokes, in our environment, conflict and the image is somehow disturbing.<\/span>\r\n\r\n<span lang=\"EN-GB\">A distinct element that Mark\u00e9ta focuses on is working with texts and placing them in public space. For example, in her series <i>Without Title (Signs) <\/i>(2008), she concentrates on anonymous signs on walls, doors, buildings or trees, bearing various messages and news. She views them as a certain way of communicating; she is interested in the selfless and active co-creation of space that can outrage, entertain or even inspire someone. She also used text in public space in her installation <i>Object<\/i> <i>in the Subway<\/i> (2008), specifically in the area of the subway station M\u016fstek in Prague. Using a line from Nicolas Bourriaud\u2019s text she marked the way from the subway station to the Gallery of V\u00e1clav \u0160p\u00e1la. A passage from the essay <i>Postproduction <\/i>commented the relationship of contemporary art and the gallery as a space for art. Or in the project for the <i>Notebook of Jan Hor\u00e1k, <\/i>she created a crossword puzzle based on the knowledge of Czech art context, or she rewrote passages from the discussions of visitors of the opening in the Experimental Space ROXY\/NoD<i> <\/i>(<i>Crossword and Wiretap<\/i>, 2008).<\/span>\r\n\r\n<span lang=\"EN-GB\">In the still opened collection <i>II <\/i>(2008-2011) Mark\u00e9ta Kinterov\u00e1 records moments that capture pairs of people, animals or things in the same or similar positions or situations. Mutual analogies are also present in the project <i>Billboard, Bucharest <\/i>(2006) when she presented, on a billboard, photographs of two streets from various cities that are linked by admirable similarities. In the collection <i>Situations <\/i>(2008) she uses the filming procedure and documents a situation taking place at the same time on two balconies above each other. <i>Hydroproject <\/i>(2011) depicts a routine ritual of a project institution employee who spends her breaks by smoking.<\/span>\r\n\r\n<span lang=\"EN-GB\">&nbsp;The focus of the artist\u2019s most recent work is returning to a certain localities. She takes her photographs back to the place of their origin, like for example in the work <i>Two Photos <\/i>(2011). She transferred two photographs of a coloured spot of unknown origin on the facade of a building to a poster, which she put up in the neighbourhood of the marked building. She worked in a similar way with the series of Signs \u2013 she left a wooden stand with photographs of the given place near them and left them there for the passersby to take. <\/span>\r\n\r\n<span lang=\"EN-GB\"><br \/> In her photographs, Mark\u00e9ta Kinterov\u00e1 records reality. Whether it is common, daily and routine matters and situations, or unique and unrepeatable moments influenced by chance and maintained thanks to a timely reaction. It is exactly randomness, strangeness and capturing of surrounding events that are the key topics of her work.<\/span>","date":2012,"authors":[1863]}],"artworks":[109001,109002,109003,109004,109005,109007,109009,112208,112209,112210,112211,112212,112213,112214,112215,112216,112217,112218,112219,113057,113058],"videos":[134598]},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Kinterov\u00e1 - Artlist<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/artlist.cz\/en\/umelci\/marketa-kinterova\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Kinterov\u00e1 - Artlist\" \/>\n<meta property=\"og:url\" content=\"https:\/\/artlist.cz\/en\/umelci\/marketa-kinterova\/\" \/>\n<meta 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