{"id":121860,"date":"2024-07-10T23:05:10","date_gmt":"2024-07-10T21:05:10","guid":{"rendered":"http:devel.artlist.cz\/artist\/bromova-srek-2\/"},"modified":"2026-05-03T16:50:12","modified_gmt":"2026-05-03T14:50:12","slug":"veronika-bromova-srek","status":"publish","type":"artist","link":"https:\/\/artlist.cz\/en\/umelci\/veronika-bromova-srek\/","title":{"rendered":"Bromov\u00e1 \u0160rek"},"featured_media":0,"template":"","class_list":["post-121860","artist","type-artist","status-publish","hentry","keyword-gender-art-en","keyword-installation-art","keyword-performance-en","keyword-textile"],"acf":{"nicknames":"Neoselka \/ NeoPesentWoman","date_born":1966,"date_death":0,"place_born":"Praha","lives":"Praha","web":"http:\/\/verosrekbrom.com","idatum":"","address":"Petrohradsk\u00e1 27, Vr\u0161ovice, P10 a St\u0159\u00edte\u017e 68, Poli\u010dka, 57201","email":"veronika.bromova@ini.cz","phone":"mobil: +420 602 315 215","biography":"

Studia a zam\u011bstn\u00e1n\u00ed:<\/strong><\/p>\r\n

2018\u20132020 Fotografick\u00e1 spolupr\u00e1ce editorial\u016f pro Vogue Czechoslovakia
Senior Lecturer at Anglo American University v Praze, Cross Media Art Studio
2015 - Lecturer at Anglo American University v Praze, Cross Media Art Studio
2014 - P\u0159edsedkyn\u011b Spolku Planeta Chaos, p\u0159edn\u00e1\u0161ky, workshopy, veden\u00ed Galerie Kabinet Chaos od 2011, 2013 \u2013 2020, OSV\u010c, rodi\u010dovsk\u00e1 dovolen\u00e1 \/ spolupr\u00e1ce s r\u016fzn\u00fdmi um\u011blecky orientovan\u00fdmi univesitami. P\u011btilety sebezku\u0161enostn\u00ed psychoterapeutick\u00fd v\u00fdcvik ArteSur, akreditovan\u00fd.
2013 - region\u00e1ln\u00ed koordin\u00e1torka projektu U\u010d\u00edme se p\u0159\u00edb\u011bhy
2012\u20132013 Absolvovala kurz arteterapie p\u0159i \u010cesk\u00e9 arteterapeutick\u00e9 asociaci, j\u00ed\u017e je nyn\u00ed \u010dlenem.
2011 \u2013 um\u011blkyn\u011b \u2013 farm\u00e1\u0159ka \u2013 p\u011bstitelka \u2013 lektorka
2011 \u2013 dobrovoln\u00e1 kur\u00e1torka \/ galeristka a produk\u010dn\u00ed Galerie KABINE CHAOS St\u0159\u00edte\u017e
2002\u20132011 vedouc\u00ed pedagog \u0160koly nov\u00fdch m\u00e9di\u00ed II.Fotografick\u00fd a digit\u00e1ln\u00ed obraz na Akademii v\u00fdtvarn\u00fdch um\u011bn\u00ed v Praze
2001 \u2013 vedouc\u00ed Digilabu AVU
1991 \u2013 Spoluzakladatelka liter\u00e1rn\u00edho a um\u011bleck\u00e9ho \u010dasopisu YAZZYK
1987\u20131993 Vysok\u00e1 \u0161kola um\u011blecko-pr\u016fmyslov\u00e1, Praha, Prof. J. \u0160alamoun, 1993 M.A.
1986\u20131987 Cestovn\u00ed kancel\u00e1\u0159 ml\u00e1de\u017ee \u2013 odd\u011blen\u00ed propagace
1982\u20131986 St\u0159edn\u00ed odborn\u00e1 \u0161kola v\u00fdtvarn\u00e1 V\u00e1clava Hollara, Praha
(grafika a ilustrace)<\/p>\r\n

Ocen\u011bn\u00ed:<\/strong><\/p>\r\n

2001 Fin\u00e1le Ceny Jind\u0159icha Chalupeck\u00e9ho
1999 Prvn\u00ed m\u00edsto v konkurzu na reprezentaci \u010cR na 48. Ben\u00e1tsk\u00e9m bien\u00e1le sou\u010dasn\u00e9ho um\u011bn\u00ed
1997 Fin\u00e1le ceny Jind\u0159icha Chalupeck\u00e9ho
1995 Grammy 95 \u2013 \u010cesk\u00e1 republika, nejlep\u0161\u00ed CD obal (\u0160um Svistu)<\/p>\r\n

Granty a stipendia:<\/strong><\/p>\r\n

2016 Kulturn\u00ed grant na realizaci v\u00fdstavy Jednota\/Unity v Pardubic\u00edch2009 Kulturn\u00ed grant od m\u011bsta Poli\u010dky \/v\u00fdstava Kr\u00e1lovstv\u00ed\/
2008 Kulturn\u00ed grant od m\u011bsta Poli\u010dky \/katalog Kr\u00e1lovstv\u00ed\/
2003 Kunsthalle Krems \u2013 Factory, t\u0159\u00edm\u011bs\u00ed\u010dn\u00ed stipendium
1998 Grant hlavn\u00edho m\u011bsta Prahy; t\u0159\u00edm\u011bs\u00ed\u010dn\u00ed reziden\u010dn\u00ed stipendium v International Studio Program, New York; dopl\u0148kov\u00fd grant Sorosova centra sou\u010dasn\u00e9ho um\u011bn\u00ed
1997 V\u00fdro\u010dn\u00ed grant Sorosova centra sou\u010dasn\u00e9ho um\u011bn\u00ed, Praha
1995 Dopl\u0148kov\u00fd grant Sorosova centra sou\u010dasn\u00e9ho um\u011bn\u00ed, Praha, Whitney Museum of American Art, New York (v\u00fdm\u011bna um\u011blc\u016f s N\u00e1rodn\u00ed galeri\u00ed, Praha)<\/p>","groups":"","membership":"

Die Fruchte gruppen, \/Die vitaminen aus dem Paradize fur Die Zeitgeist\/ group fashion performance od 2019<\/p>\r\n

Kolouch\u016fv sen, skupina hobistick\u00fdch modelek od 2007, skupinov\u00e9 performance<\/p>\r\n

\u0160UMSVISTU, 1988<\/p>\r\n

Plynov\u00e9 divadlo BAR, 1987<\/p>","exhibitions_solo":"2020\r\nDivn\u00fd jaro, \u0159e\u010d\u00ed p\u0159\u00edrody v kruhu Koruny, Galerie Atrium \u017di\u017ekov, Praha\r\n\r\n2019 \r\nRealityscans\/Skenyreality, MUD Bene\u0161ov, katalog\r\nTekut\u00fd obraz, pr\u016fhledy k setk\u00e1v\u00e1n\u00ed, ritu\u00e1ln\u00ed mal\u00ed\u0159sk\u00e1 interakce, galerie Umakart, Brno\r\nHran\u00ed si s Kusamou \/Playing with Kusama, kino Sv\u011btozor, performance se zapojen\u00edm div\u00e1k\u016f, Praha\r\nKrajinow, Hran\u00ed si s Gretou na Zemi, ritu\u00e1ln\u00ed performance se zapojen\u00edm div\u00e1k\u016f, MUD Bene\u0161ov\r\n\r\n2018 \r\nBromfiles, Galerie Fotograf, spole\u010dn\u011b s tvorbou Dagmar a Pavla Bromov\u00fdch, Praha\r\nV\u0161etko? O Veron\u011b, Galeria um\u011bn\u00ed Nitra\r\n\r\n2017 \r\nT\u011blotisky, zrcadla, mandaly, galerie Kulturn\u00edho centra \u010cesk\u00e1 T\u0159ebov\u00e1. performance\r\n\r\n2016\r\nPenetration of The Black hole\u201c, spolupr\u00e1ce se studenty Cross Media Art studio, AAU, and public in Floralia festival, Prague. \r\nSpectrum unity, East Bohemien Gallery, Pardubice.\r\nV pam\u011bti Jednoty\/In The memory of Unity, Galerie 3, Nov\u00fd Jimramov.\r\nVienna contemporary, Art fair, Lukas Feichtner Gallery, Vienna\r\n\r\n2015\r\nDv\u011b tv\u00e1\u0159e Veroniky \u0160rek Bromov\u00e9, M\u011bstsk\u00e1 galerie a muzeum v Poli\u010dce, V\u00edt\u00e1n\u00ed Roku kozy, skupinov\u00e1 performance se skupinou Sir\u00e9ny z Titanu, host\u00e9: V\u00e1clav C\u00edlek - zah\u00e1jen\u00ed a Ren\u00e1ta Fu\u010d\u00edkov\u00e1 \u2013 dudy.\r\n\u00dalomky Chaosu, galerie kina Hrani\u010d\u00e1\u0159, presentace, performance, \u00dast\u00ed nad Labem\r\nNapojen\u00ed Chaosu, Galerie Bel\u00e1ria, Mod\u0159any, Praha\r\nPohledy do jin\u00fdch sv\u011bt\u016f, Z\u00e1mek Dobroho\u0159, Star\u00e9 M\u011bsto pod Land\u0161tejnem \u010d. p. 160, spont\u00e1nn\u00ed performance v side specific, olt\u00e1\u0159i ze star\u00fdch z\u00e1meck\u00fdch hodin.\r\n\r\n2014\r\nP\u0159\u00edb\u011bhy a sny, M\u011bstsk\u00e1 galerie Litomy\u0161l, 2. patro z\u00e1mku\r\nVeronika \u0160rek Bromov\u00e1 - P\u0159\u00edb\u011bh Chaosu - Chaos Story, Galerie V\u00e1clava \u0160p\u00e1ly, Praha\r\nSt\u011bna pro \u201eNov\u00e9ho kur\u00e1tora\u201c, Z cyklu Detaily, CBM, Poli\u010dka\r\nKavka bookstore, v\u00fdstava jedn\u00e9 fotografie z cyklu Pohledy, pracovn\u00ed n\u00e1zev Vagina, ritu\u00e1ln\u00ed olt\u00e1\u0159, pod\u011bkov\u00e1n\u00ed Vagin\u011b, diskuse.\r\nSe skupinou Sir\u00e9ny z Titanu, performance za fair trade ban\u00e1ny v r\u00e1mci festivalu Tutti Frutti, tr\u017enice, Bratislava.\r\nOzv\u011bny Chaosu, NoD Roxy, presentace a v\u00fdstava videi\u00ed z Chaosu, Praha\r\n\r\n2013\r\nPavouci a pavou\u010dice na p\u016fd\u011b, galerie P\u016fda, Borov\u00e1 u Poli\u010dky\r\n\r\n2012 - Spr\u00e1va z Chaosu, Gal\u00e9ria Fajka, Bratislava\r\nReport from Chaos, A2 gallery, Halle, Katalog\r\n\r\n2010\r\nKr\u00e1lovstv\u00ed, Centrum Bohuslava Martin\u016f, Poli\u010dka\r\nRehabilitace, Galerie Kaple, Vala\u0161sk\u00e9 mezi\u0159\u00ed\u010d\u00ed\r\nRehabilitace, UFFO, Trutnov\r\n\r\n2009\r\nKr\u00e1lovstv\u00ed, D\u016fm U Kamenn\u00e9ho zvonu, Praha\r\nKr\u00e1lovstv\u00ed, Centrum Bohuslava Martin\u016f, Poli\u010dka\r\n\r\n2008\r\nKr\u00e1lovstv\u00ed, D\u016fm U Kamenn\u00e9ho zvonu, Praha\r\n\r\n2007\r\nHatho\u0159ina kabelka, Hunt Kastner Artworks, Praha\r\nLe sac `a main d\u2019Hathor, Centre tch\u00e9que, Pa\u0159\u00ed\u017e\r\n\r\n2006\/2007\r\nKrumlovsk\u00e1 madona, Egon Schiele Art Centrum, \u010cesk\u00fd Krumlov\r\n\r\n2006\r\nKr\u00e1lovstv\u00ed, Caf\u00e9 Jericho, Praha\r\n\r\n2004\r\nMoje soubory, Nov\u00e9 autoportr\u00e9ty Veroniky Bromov\u00e9, Futura \u2013 Centrum pro sou\u010dasn\u00e9 um\u011bn\u00ed, Praha\r\nMoje soubory, Galerie la Garage, Toulouse, Francie\r\nMoje soubory, Nov\u00e9 digit\u00e1ln\u00ed fotografie, Galerie pod radnic\u00ed, \u00dast\u00ed nad Orlic\u00ed\r\n\r\n2003 \r\nAUTOBIOGRAPH, Kunsthalle Krems-Factory, Krems\r\n\r\n2002 \r\nEFFECT DEFECT, Czech center, Berlin\r\nEFFECT DEFECT, Behemot gallery, Prague\r\nTOGETHER, with Martin Mainer, KrausErben Gallery, Dresden\r\n\r\n2001 \r\nEFFECT DEFECT, Feichtner and Mizrahy Gallery-Breuner Palace, Vienna Kousky m\u011b - kousky N.Y.C., Moravsk\u00e1 galerie Brno (catalogue).\r\n\r\n2000 \r\nKousky m\u011b - kousky N.Y.C., New York University Prague, (catalogue).\r\nM\u00edsta na zemi, \u0160lova galerie, Praha\r\nM\u00edsta na zemi, Sokolsk\u00e1 26 Gallerie Ostrava\r\n\r\n1999 \r\nZEMZOO, Pavillion Czech Republic, 48. Venice Bienial of The Contemporary Art, Venice (catalogue).\r\nZEMZOO, JAMA 10 Gallery, Ostrava (catalogue).\r\nKousky m\u011b - kousky N.Y.C.\r\n\r\n1998 \r\nP\u016fzn\u00e9, M\u011bstsk\u00e1 galerie, Poli\u010dka.\r\nKr\u00e1ska a zv\u00ed\u0159e, Galerie v kapli, Brunt\u00e1l.\r\nZEMZOO, Nov\u00e1 s\u00edn Gallery, Prague (catalogue).\r\n\r\n1997 \r\nVERONIKA BROMOV\u00c1 \u2013 Photography, G4 Gallery, Cheb.\r\nNa hran\u011b obzoru, GHMP, pra\u017esk\u00e1 radnice (catalogue).\r\n\r\n1996 \r\nOUT OF PHOTO 1, Mala stanica Gallery, Soros centr, Skopje, Macedonia.\r\nROZA EXTASY, Verlyba Gallery, Prague.\r\nMilenci, s K. Vincourovou a M. Othovou, JNJ galerie, Praha\r\nM\u011bs\u00edc fotografie, Galerie Michalsk\u00fd dvor, Bratislava (catalogue).\r\n\r\n1993 \r\nDokola, s M.Othovou, Galerie Radost, Praha\r\n\r\n1991 \r\nTajn\u00e9 fotoalbum, Supraclub Gallery, Prague.","exhibitions_group":"2020\r\nPl\u00e1nB, Planeta, \u201e\u017eiv\u00fd\u201c objekt v exterieru Litomy\u0161le, kuratorka: Lenka Lindaurov\u00e1, katalog\r\nVe v\u011bci um\u011bn\u00ed, Poj\u010f bl\u00ed\u017e - Pra\u017esk\u00e9 bien\u00e1le, Ghmp, Praha, kurator: V\u00edt Havr\u00e1nek, katalog\r\n\u0160est pohlednic, D\u016fm p\u00e1n\u016f z Kun\u0161t\u00e1tu, Brno, projekt Jolany Havelkov\u00e9\r\nRadik\u00e1ln\u00ed \u017eeny \/ Radical womans, DSC gallery, Praha, kurator: Karel Srp a Karolina Ju\u0159icov\u00e1\r\nPrase...\u010ciny, skupinov\u00e1 performance Die Fruchte, z\u00e1mek Dobroho\u0159, Star\u00e9 m\u011bsto pod Land\u0161tejnem\r\nM\u00e1...Slo(v), skupinov\u00e1 performance Die Fruchte, DOX\r\nSuck The Sack, Galerie U Betl\u00e9msk\u00e9 kaple, kur\u00e1to\u0159i: etecera, katalog\r\n73. Poli\u010dsk\u00fd salon um\u011bn\u00ed, Poli\u010dka\r\nV\u00fdtvarn\u00e1 Litomy\u0161l, m\u011bstsk\u00e1 galerie, D\u016fm u ryt\u00ed\u0159\u016f, Litomy\u0161l\r\nAutorsk\u00e9 tisky ve sb\u011bratelsk\u00e9 publikaci Katarzyna Kozyra Foundation, Polsko\r\nHuman\/Non_Human, performance s Die Fruchte, k stejnojmen\u00e9 v\u00fdstav\u011b Veroniky Drahotov\u00e9, Idea Delivery Lab, Praha\r\n\r\n2019\r\nWe will not change our show, D\u016fm p\u00e1n\u016f z Kun\u0161t\u00e1tu, Brno\r\nMise Amour, GASK, zah\u00e1jen\u00ed sezony, skupinov\u00e1 performance s Fi\u017e\u00ed, Kutn\u00e1 hora\r\nU\u010debny, Suk\u0148omandala, NG Veletr\u017en\u00ed pal\u00e1c, Praha\r\nV\u00fdtvarn\u00e1 Litomy\u0161l, m\u011bstsk\u00e1 galerie, D\u016fm u ryt\u00ed\u0159\u016f, Litomy\u0161l\r\nPolibmix \/ P\u0159idej pol\u00ednko, skupinov\u00e1 performance, v\u00fdstava, Galerie J\u00e1ma 10, Ostrava\r\nAkvapark, performance k Prapramen\u016fm vody, s Tom\u00e1\u0161em J.Orlem.\r\nPosledn\u00edch 30. let Emancipace II., 220 let AVU, GAVU, kur\u00e1tor B.Ondrei\u010dka, Praha\r\nSoused\u00e9 sob\u011b 2019, Chaosbox, St\u0159\u00edte\u017e-Poli\u010dka\r\n\r\n2018 \r\nCrashtest 8 \u2013 Umprumem 92-93, Topi\u010d\u016fv salon, Praha\r\nOrient, Centre for Contemporary Art FUTURA - \u201cTHE NEW EAST\u201d IN CENTRAL EASTERN EUROPEAN ART, at Kim?, Riga Krakow, BOZAR, Center for fine Arts, Brussel, Bunkier Sztuki, Krakow \r\nZrcadlen\u00ed, spole\u010dn\u011b s Radkou a Stanislavem Mullerov\u00fdmi, Zahradn\u00ed d\u016fm, Teplice\r\nJdi se bodnout, Sexposed 2, POPUP exhibition, Pra\u017esk\u00e9 Kreativn\u00ed centrum \/PKC\/, Praha\r\nLetn\u00ed keramick\u00e1 plastika 25, St\u0159edo\u010desk\u00e9 muzeum v Roztok\u00e1ch u Prahy, Praha\r\nSoused\u00e9 sob\u011b 2018, Chaosbox, GKCH, St\u0159\u00edte\u017e, Poli\u010dka\r\n\r\n2016 \r\nProsperous Poison, On The Feminist Appropriation of the Austrian Unconscious, Mumok, Vienna\r\n\r\n2015\r\nEmbodied Action, Enacted Body, International Performance Art festival, Hong Kong\r\nUP \u2013 ON International Performance Art festival, Chengdu, China\r\nGUYU 2015, International Performance Art festival, Xian, China\r\nPCHAO 2015, International Performance Art festival, Spolek Planeta Chaos, St\u0159\u00edte\u017e, Poli\u010dka\r\n4 plus 4 dny v pohybu, Mezin\u00e1rodn\u00ed festival sou\u010dasn\u00e9ho um\u011bn\u00ed, Desfoursk\u00fd pal\u00e1c, Praha\r\nBeauty Free Shop, Meet factory, Praha\r\nVesnice je sv\u011bt, Oblastn\u00ed galerie Vyso\u010diny, Jihlava\r\nB\u00edl\u00e1 Psych\u00e9, Entrance Gallery, Oran\u017eerie B\u0159evnovsk\u00e9ho kl\u00e1\u0161tera, Praha\r\nV\u00fdtvarn\u00e1 Litomy\u0161l, M\u011bstsk\u00e1 galerie Litomy\u0161l, D\u016fm u Ryt\u00ed\u0159\u016f, Litomy\u0161l\r\nVienna Contemporary, s Lukas Feichtner, Gallery, V\u00edde\u0148\r\n30 let Galerie G4, Art centrum, v\u00fdstava fotograf\u016f z 8 zem\u00ed, Cheb\r\nV\u00fdstava a aukce na podporu Ak. mal. Petra Van\u011b\u010dka, Nod, Roxy, Praha\r\nProsperous Poison, On The Feminist Appropriation of the Austrian Unconscious, Mumok, Vienna\r\n\r\n2014\r\nN\u011bkdy v sukni, Um\u011bn\u00ed 90' let, Moravsk\u00e1 galerie v Brn\u011b, Brno, katalog\r\nO \u017eidli\/About The Chaire, Pixles of Paradise, 9th Internatioal Biennial of Photography and Visual Art, Liege, Belgie, katalog\r\nVnit\u0159n\u00ed okruh v \u010desk\u00e9 fotografii, Muzeum modern\u00edho um\u011bn\u00ed, Olomouc\r\nTrasy a schr\u00e1nky, instalace, objekty, relikvi\u00e1\u0159e, v r\u00e1mci Mezin\u00e1rodn\u00edho festivalu sou\u010dasn\u00e9ho um\u011bn\u00ed s duchovn\u00edm zam\u011b\u0159en\u00edm, Sn\u011bmovn\u00ed s\u00e1l Arcibiskupsk\u00e9ho z\u00e1mku, Krom\u011b\u0159\u00ed\u017e\r\nV\u00fdtvarn\u00e1 Litomy\u0161l, M\u011bstsk\u00e1 galerie Litomy\u0161l, D\u016fm u Ryt\u00ed\u0159\u016f, Litomy\u0161l, katalog\r\nKrajinou \/nejen\/ Bohuslava Martin\u016f, M\u011bstsk\u00e9 muzeum, \u010cesk\u00e1 T\u0159ebov\u00e1\r\nN\u011bkdy v sukni, Um\u011bn\u00ed 90' let, Galerie hl. M\u011bsta Prahy, D\u016fm U Zlat\u00e9ho prstenu, katalog\r\n\r\n2013\r\nVnit\u0159n\u00ed okruh, GHMP, Praha, katalog\r\nBody varu, galerie Bludn\u00fd k\u00e1men Opava\r\nVnit\u0159n\u00ed okruh, v r\u00e1mci m\u011bs\u00edce fotografie, Bratislava\r\nV\u00fdtvarn\u00e1 Litomy\u0161l, Litomy\u0161l\r\n\r\n2012\r\nGreendoors aukce, Galerie Artinbox, Praha\r\n\u017dena, v\u00fdstava v r\u00e1mci sympozia, Fakulta um\u011bn\u00ed a designu, Plze\u0148\r\n\r\n2011\r\nMutuj\u00edc\u00ed m\u00e9dium, Galerie Rudolfinum, Praha, katalog\r\nInter-view, Nitransk\u00e1 gal\u00e9ria, katalog\r\nVeronika and her Paradays, with Georges Hlad\u00edk, Moving Gallery, Newcastle upon Tyne, UK.\r\nMiluji t\u011b, ale ne\u0159\u00edkej mi u\u017e, \u017ee m\u00e1m velkou hlavu, Galerie AVU, GAVU, Praha.\r\nPr\u016fvodci, galerie restaurace Su-ter\u00e9n, Praha\r\nPr\u016fvodci, SU-Ter\u00e9n, Praha\r\nP\u00e1t\u00fd p\u0159es dev\u00e1t\u00fd, galerie Trafa\u010dka, Praha\r\nAnother Story, Photography from Moderna Museet Colection, Stockholm, book\r\nSoused\u00e9 sob\u011b, Galerie Kabinet St\u0159\u00edte\u017e, St\u0159\u00edte\u017e\r\nSk\u0159\u00edtkov\u00e9 a v\u00edly, Artinbox, Praha\r\n\r\n2010\r\nGender Check \u2013 Femininity and Masculinity in the Art of Eastern Europe, MuMok, V\u00edde\u0148, katalog\r\nGender Check \u2013 Femininity and Masculinity in the Art of Eastern Europe, Zacheta Gallery, Var\u0161ava, katalog\r\nVirtual Libido Real Ecstasy, Galerie 5.patro, Praha\r\nArtplener2010, Galerie Bernarda Bolzana, T\u011bchobuz\r\nPlaneta Eden, D\u016fm um\u011bn\u00ed m\u011bsta Brna, katalog\r\nUm\u011bn\u00ed porodit, Pec pod sn\u011b\u017ekou, skl\u00e1da\u010dka\r\nDigitance s NM2, festival Colourmeeting, Divadeln\u00ed klub, Poli\u010dka\r\nFreak Show 2, Galerie A.M. 180, Praha\r\n\r\n2009\r\nPraguePhoto, Galerie M\u00e1nes, Praha\r\n\u010cesk\u00e1 fotografie 20.stolet\u00ed, Bonn, Germany\r\nV\u00fdstup na Sn\u011b\u017eku, spole\u010dn\u00e1 performance s Kolouchov\u00fdm snem, Sn\u011b\u017eka\r\nAutoportr\u00e9t v \u010desk\u00e9m um\u011bn\u00ed 20. a 21. stolet\u00ed \/ Self-portrait in Czech Art of the 20th a 21st century, Galerie v Pardubic\u00edch\r\nWoxart p\u0159edauk\u010dn\u00ed v\u00fdstava, Nov\u00e1 s\u00ed\u0148, Praha, katalo\r\nMoje Evropa \u2013 sou\u010dasn\u00e9 \u010desk\u00e9 um\u011bn\u00ed a design, EHSV, 6.patro, Brusel\r\nMoje Evropa, DOX, Praha, katalog\r\nPhotography and koncept, Pra\u017esk\u00fd d\u016fm Brusel, katalog\r\nSomething of myself, Galerie HuntKastner, Praha\r\nFreak Show, Galerie Califia, Z\u00e1mek Hora\u017e\u010fovice\r\nTropical Lab, La Salle Gallery-results of workshop, Singapoore\r\nPo Sametu, GHMP, D\u016fm U zlat\u00e9ho prstenu, Ungelt, katalog\r\nGen 8, Galerie Bazilika, \u010cesk\u00e9 Bud\u011bjovice, katalog\r\nGender Check \u2013 Femininity and Masculinity in the Art of Eastern Europe, MuMok, V\u00edde\u0148, katalog\r\n\r\n2008\r\n8 GEN, Trafa\u010dka, Praha\r\nAutoportr\u00e9t v \u010desk\u00e9m um\u011bn\u00ed 20. a 21. stolet\u00ed \/ Self-portrait in Czech Art of the 20th a 21st century, Al\u0161ova jiho\u010desk\u00e1 galerie, Hlubok\u00e1 nad Vltavou\r\nNap\u0159\u00ed\u010d generacemi, Clam Galas\u016fv pal\u00e1c, Praha\r\nMezi kv\u011btinou a zv\u00ed\u0159etem, Z\u00e1pado\u010desk\u00e1 galerie Klatovy \u2013 Klenov\u00e1\r\nSpectrum of Ecstasy, B\u00e1nsk\u00e1 Bystrica\r\n\r\n2007\r\nCooking Art aneb Sma\u017e\u00edme um\u011bn\u00ed, Galerie kritik\u016f, Praha\r\nDisegno interno, Karlin Studios, Praha\r\nRetrouv\u00e9, Galerie 5. patro, Praha\r\nSt\u0159edn\u00ed v\u011bk, Galerie 5. patro, Praha\r\nUm\u011bn\u00ed porodit, Veletr\u017en\u00ed pal\u00e1c, Praha\r\n\r\n2006\r\nAmor vincit omnia, Saarl\u00e4ndische Galerie, Berl\u00edn, N\u011bmecko\r\nContent, Boras Museum, Boras, \u0160v\u00e9dsko\r\nContent, Mikkeli Museum, Mikkeli, Finsko\r\nD\u00edlna 06, Mikulov Art symposium XIII, Z\u00e1mek Mikulov\r\nPraguebiennale2: Expanded painting \/ acci\u00f3n directa. Mezin\u00e1rodn\u00ed sou\u010dasn\u00e9 um\u011bn\u00ed \/ International Contemporary Art, Karl\u00ednsk\u00e1 hala, Praha\r\nP\u0159ibli\u017eovadla, ArtPro \u2013 Galerie \u010desk\u00e9 plastiky, Praha\r\nTina B., Veletr\u017en\u00ed pal\u00e1c, Praha\r\nVlasta a \u0160\u00e1rka (D\u00edv\u010d\u00ed v\u00e1lka aneb Gender study), Galerie kritik\u016f, Praha\r\nVlasta a \u0160\u00e1rka (D\u00edv\u010d\u00ed v\u00e1lka aneb Gender study), Konzum, Brand\u00fds nad Orlic\u00ed\r\n\r\n2005\/2006\r\nContent \u2013 Handbag in Contemporary Art, Kulturhuset, Stockholm, \u0160v\u00e9dsko\r\n\r\n2005\r\n46th October Art Salon, Belgrade Cultural Centre, Belgrad, Srbsko\r\n\u010cesk\u00e1 fotografie 20. stolet\u00ed \/ Czech Photography of the 20th Century, Um\u011bleckopr\u016fmyslov\u00e9 museum, Praha\r\nFAMU d\u00edlna Veroniky Bromov\u00e9, Komunika\u010dn\u00ed prostor \u0160kolsk\u00e1 28, Praha\r\nFlor\u00e1lie. Mezi idylou a halucinac\u00ed, ArtPro \u2013 Galerie \u010desk\u00e9 plastiky, Praha\r\nKontaktn\u00ed m\u00edsta, Akademie v\u00fdtvarn\u00fdch um\u011bn\u00ed \u2013 Hole\u0161ovick\u00e1 tr\u017enice, Praha\r\nLa bote en valise \u2013 oder Die Neue Welt liegt mitten in Europa, Akademie der Bildenden K\u00fcnste, Norimberk (N\u00fcrnberg), N\u011bmecko\r\nLa bote en valise \u2013 oder Die Neue Welt liegt mitten in Europa, Galerie AVU, Praha\r\nMayrau, D\u016fl Mayrau, Kladno\r\nPra\u017esk\u00e9 ateli\u00e9ry, Novom\u011bstsk\u00e1 radnice, Praha\r\nWorkshop, Galerie Doubner, Praha\r\n\r\n2004\r\n3. aukce modern\u00edho um\u011bn\u00ed, v\u00fdstava dra\u017een\u00fdch um\u011bleck\u00fdch d\u011bl, Galerie Peron, Praha\r\nAukce sou\u010dasn\u00e9ho um\u011bn\u00ed, V\u00fdstava dra\u017een\u00fdch um\u011bleck\u00fdch d\u011bl, \u010cesk\u00e1 spo\u0159itelna, Praha\r\nBocca della verit\u00e1, Kunstgeb\u00e4ude Schlosshof Bodenburg, N\u011bmecko\r\nBodyworks, The Nicosia Municipal Arts Centre, Nicosia, Kypr\r\n\u010cist\u00e1 kr\u00e1sa \/ Pure Beauty, Galerie kritik\u016f, Praha\r\nEros, eros, eros, ArtPro \u2013 Galerie \u010desk\u00e9 plastiky, Praha\r\nEuropa, Kunstverein, Weiden, N\u011bmecko\r\nLa bote en valise \u2013 oder Die Neue Welt liegt mitten in Europa (Monat der Photographie), Eikon, V\u00edde\u0148, Rakousko\r\nTento m\u011bs\u00edc menstruuji, Artfactory, Praha\r\n\r\n2003 \r\nABSOLUT GENERATIONS, Palazzo Zenobio, Venice, (catalogue)\r\nCLICK, Muzeum a Galerie v Policce, Policka\r\nWEAK AND AGGRESSIVE, Zverev Center for Contemporary Art, Moscow\r\nREACENTLY DEVELOPED, Feichtner and Mizrahi, Vienna\r\nMAIS QUELLE TETE TU FAIS!, Galerie le Garage, Toulouse\r\n\r\n2002 \r\nCORPS ET TRACES, Mus\u00e9e des Beaux-Arts, Nancy\r\nINSIDEOUT, Bunkr, Berlin.\r\nGIRLS RIDE, Palace Tivoli, Ljubljana\r\n\r\n2001 \r\nTO FLOW TO, Chromosome Gallery, Berlin.\r\nUm\u011blci pro Um\u011blce (podpora \u010dasopisu Um\u011blec - aukce, Tvrdohlav\u00fd Gallery, Prague (catalogue).\r\nANTEPRIMA BOVISA \u2013 MILANO EUROPA 2000, Trienale Palace, Milano (catalogue),\r\nARCO, Feichtner and Mizrahi Gallery-Vienna, Chuan Carlos Parc, Madrid (catalogue).\r\nNO FLASH, Soros Center for Contemporary Art, Kyjev.\r\nTHE NUDE IN THE CZECH PHOTOGRAPHY, Museum of City Olomouc, (catalogue).\r\nBOHEMIAN BIRDS, Dresdner bank, Frankfurt am Main (catalogue).\r\n\r\n2000 \r\nTRANSGLOBE, M\u00e1nes Gallery, Prague (catalogue).\r\nJEUX D AMOUR, Wigmore Fine Art, Battersea Art Center, London (catalogue).\r\nDER ANAGRAMMATISCHE KORPER, ZKM Karlsruhe (catalogue).\r\nGIRLS SHOW, National Gallery, Bucuresti.\r\nKonec sv\u011bta? N\u00e1rodn\u00ed galerie Praha, Kinsky Pal\u00e1c (catalogue).\r\nGIRLS SHOW, Emil Fila Gallery, \u00dast\u00ed nad Labem.\r\nARTFORUM, Feichtner-Mizrahy Gallery, Berlin (catalogue). \r\nAFTER THE WALL, Hamburger Banhof, Berlin, (catalogue).\r\nAktu\u00e1ln\u00ed nekone\u010dno, GHMP Praha (catalogue).\r\nPERMANENT EXHIBITION OF ART 19. and 20. Century, National Gallery-Veletrzn\u00ed Palace, Prague.\r\nCena Jind\u0159icha Chalupeck\u00e9ho - Finalist\u00e9, Veletrzn\u00ed Pal\u00e1c NG Praha\r\nSTORY, NoD Gallery, Prague.\r\nAkt v \u010desk\u00e9 fotografii, C\u00edsa\u0159sk\u00e9 kon\u00edrny Pra\u017esk\u00e9ho hradu (catalogue).\r\nBOHEMIAN BIRDS, Kunst Haus Dresden, Dresden (catalogue).\r\n\r\n1999 \r\nDUSK, Centre of Contemporary Art, Seattle.\r\nCZ 99 \u2013 ARTLAB, Venceslas Squere. 15, Praha.\r\nDER ANAGRAMMATISCHE KORPER, Kunsthaus Muerz, Graz.\r\nAFTER THE WALL, Moderna Museet, Stockholm (catalogue).\r\nLOVE and DESIRE, Gallery Photology, Milan.\r\nWITHOUT THE WALL, annual exhibition SCSU, Marble Palace, St. Petersburg (catalogue).\r\nTHINGS GOING SMOOTHLY, Traf\u00f3, Budapest.\r\nRONDO, Ludwig Muzeum, Budapest..\r\n\r\n1998 \r\nT\u011blo ve fotografii, Fotofest Prague\u2013Kol\u00edn nad Labem,\r\nSalmovsky Palace, Prague (catalogue)\r\nVyvinuto, \u010cesk\u00e9 centum Berl\u00edn\r\nFICTION INTIM\u00c9E, Fundation J. Mir\u00f3, Barcelona,\r\nCentre George Pompidou in Espace Elektra, Paris (catalogue).\r\nART OF THE WORLD \u00b498, Passage de Retz, Paris (catalogue- apendix of Beaux Art magazine).\r\nCzech Art IN THE 90\u00b4, Prague City Gallery, permanent exhibitions,\r\nGolden Ring Hous, Prague (catalogue).\r\nCLOSE ECHOES, Prague City Gallery, City Library building, Prague (catalogue).\r\nCLOSE ECHOES, Kunsthalle Krems, Krems (catalogue).\r\nT\u011blo jako d\u016fkaz, Muzeum um\u011bn\u00ed Olomouc (catalogue).\r\nJistoty a hled\u00e1n\u00ed v \u010desk\u00e9 fotografii, Berlin (catalogue).\r\nPra\u017esk\u00fd d\u016fm fotografie, otev\u0159en\u00ed nov\u00e9ho prostoru, Praha (catalogue).\r\n\r\n1997 \r\nCena Jind\u0159icha Chalupeck\u00e9ho -v\u00fdstava finalist\u016f, Pra\u017esk\u00fd hrad.\r\nAnd\u011bl, and\u011bl, Rudolfinum Gallery, Prague.\r\nJistoty y hled\u00e1n\u00ed v \u010desk\u00e9 fotografii, Bratislava (catalogue).\r\nSYMPTOMY, HI-TECH\/ART, House of the Art, Brno.\r\nINTROSPEKCE, Praz\u00e1ks Palace, Moravien Gallery, Brno (catalogue).\r\nCHIMERA, Midleeuropa Photographies, Halle (catalogue).\r\nPARALELY PRAGUE - PARIS, Czech Center, Paris (catalogue).\r\nJistoty a hled\u00e1n\u00ed v \u010desk\u00e9 fotografii, D\u016fm um\u011bn\u00ed m\u011bsta Brna (catalogue).\r\n\r\n1996 \r\nJistotty a hled\u00e1n\u00ed v \u010desk\u00e9 fotografii, Pra\u017esk\u00fd hrad (catalogue).\r\nEXTERIOR versus INTERIOR, Cosmos Gallery, Bratislava (catalogue).\r\nORBIS FICTUS EXTRACTUS, M\u011bstsk\u00e1 galerie v Poli\u010dce\r\nZl\u00ednsk\u00fd salon um\u011bn\u00ed, Zl\u00edn (catalogue).\r\nURBAN LEGENDEN \u2013 PRAG, Kunsthalle Baden-Baden (catalogue).\r\n\r\n1995 \r\nORBIS FICTUS, Vald\u0161tejnsk\u00e1 j\u00edzd\u00e1rna, II. V\u00fdro\u010dn\u00ed v\u00fdstava SCSU Praha,\r\nnew media in contemporary art, Prague (catalogue).\r\nDIVUS-BAZAR, Libensk\u00fd ostrov, Praha\r\nBORDERS of PHOTOGRAPHY, Prague House Photography, Prague.\r\nZku\u0161ebn\u00ed provoz, M\u00e1nes Praha (catalogue).\r\n\u010cist\u00fd zisk, MXM Gallery, Praha (catalogue).\r\nBien\u00e1le mlad\u00fdch um\u011blc\u016f, Jan Koniarik Gallery, Trnava (catalogue).\r\n\r\n1994 \r\nBien\u00e1le mlad\u00fdch um\u011blc\u016f \/ ZVON 94, GHMP, U kamen\u00e9ho zvonu Praha\r\nN\u00e1hubek, Fragnerova galerie, Praha (catalogue).\r\n\u017densk\u00e9 domovy, \u0160tenc House Prague,\r\nP\u0159edpoklady skute\u010dnosti, Obecni House Gallery, Praha.\r\n\r\n1993 \r\nLIBRARII, The Globe \u2013 englische literary cofee, exhibition of book project, Prague.\r\nV\u00fdstava diplomn\u00edch prac\u00ed V\u0160UP Praha\r\nEUROTICA 93, Melkweg Gallery, Amsterdam.\r\nNov\u00e1 jm\u00e9na, Pra\u017esk\u00fd d\u016fm fotografie.\r\n\r\n1992 \r\nJej\u00ed bratr jeho man\u017eel, \u0160p\u00e1lovqa galerie Praha\r\n\u017densk\u00e9 domovy, Kulturn\u00ed centrum v \u017densk\u00fdch domovech Praha.\r\nKolumbovo vejce, B\u00e9h\u00e9mot Gallery, Praha (catalogue).\r\n\r\n1991 \r\nFotografick\u00e1 v\u00fdstava, Modes Robes Gallery, Praha.","realizations_other":"

2011
prezentace pro St\u0159edn\u00ed grafickou \u0161kolu v Brn\u011b. Art Institut of Chicago v Praze. Pro studenty Worldlerning, Chaos. Soukrom\u00e1 um\u011bleck\u00e1 \u0161kola, Doln\u00ed \u00fajezd.<\/p>\r\n

2010
\u00da\u010dast v charitativn\u00ed akci v r\u00e1mci presti\u017en\u00edho ve\u010dera Vina\u0159stv\u00ed roku. Spolupr\u00e1ce s Charitou Poli\u010dka p\u0159i realizaci ma\u0161karn\u00edho plesu pro posti\u017een\u00e9 a d\u011bti, kulturn\u00ed D\u016fm Jord\u00e1n, Poli\u010dka. \u016e\u010dast v porot\u011b Zlat\u00e1 pecka, nejlep\u0161\u00ed reklama. \u00da\u010dast v komisi pro V\u00fdb\u011brov\u00e9 \u0159\u00edzen\u00ed na post vedouc\u00edho pedagoga Favu, Atelier multimedi\u00ed. Sympozium ProAvu, p\u0159\u00edsp\u011bv\u011bk Srdce AVU. Prezentace pro zimn\u00ed turnus student\u016f z Art Institut of Chicago. Moravsk\u00e1 galerie, D\u016fm p\u00e1n\u016f z Kun\u0161t\u00e1tu, spole\u010dn\u00e1 prezentace tvorby Veroniky Bromov\u00e9 a Kate\u0159iny Vincourov\u00e9, moderoval Daniel Vojt\u011bch. V r\u00e1mci festivalu Multiplace, t\u00e9ma Mu\u017e \/ \u017dena \/ Media, spole\u010dn\u00e1 performance s Franti\u0161kem Kowolowskim. Artplener 2010, T\u011bchobuz, Galerie Bernarda Bolzana.<\/p>\r\n

2009
Komentovan\u00e1 prohl\u00eddka Kr\u00e1lovstv\u00ed, samostatn\u00e1 v\u00fdstava, Centrum Bohuslava Martin\u016f, Poli\u010dka<\/p>\r\n

2008
Ve\u0159ejn\u00e1 prezentace NM2, AVU, Divadeln\u00ed klub, Poli\u010dka
Komentovan\u00e9 prohl\u00eddky Kr\u00e1lovstv\u00ed, D\u016fm u kamenn\u00e9ho zvonu Ghmp, Praha
Ve\u0159ejn\u00e1 prezentace NM2, AVU, Cross Club, Praha. Zah\u00e1jen\u00ed v\u00fdstavy Pauliny \u0160k\u00e1vov\u00e9 a Marianny Judov\u00e9, absolventek AVU. \u00da\u010dast v klauzurn\u00edch komis\u00edch Favu, Brno. Oponetsk\u00e9 posudky, Favu Brno a Fakulta um\u011bn\u00ed a designu, Universita J.E. Purkyn\u011b v \u00dast\u00ed nad Labem. U\u010dinkov\u00e1n\u00ed v divadeln\u00edm p\u0159edstaven\u00ed, \u017densk\u00e9 zbran\u011b, Alfred ve dvo\u0159e, re\u017eie: Nebesk\u00fd
\u00da\u010dinkov\u00e1n\u00ed ve filmu, T\u0159i sezony v Pekle, re\u017eie: Tom\u00e1\u0161 Ma\u0161\u00edn.<\/p>\r\n

2007
Dob\u0159e naprogramovan\u00fd hn\u011bta\u010d, v\u00fdstava atel. Kurta Gebauera V\u0161up a NM2 Avu, HalaC, Praha<\/p>\r\n

2006
Rozmetat Stereotypy, V\u00fdstava NM2 v \u010cNB. Praha<\/p>\r\n

2005
Presentace NM2, AVU, Divadlo Komedie, Praha<\/p>\r\n

2004
Presentace NM2, AVU, Rudolfinum, Praha<\/p>\r\n

2003\u20132004
galerie Home (spoluzakladatelka a spolukur\u00e1torka \u2013 s Veronikou Drahotovou)<\/p>\r\n

2002
spolukur\u00e1torka v\u00fdstavy Mlad\u00e9 maso, Ghmp, D\u016fm u Zlat\u00e9ho prstenu.<\/p>","collections":"Gallery of the City of Prague,\r\n Museum of Art Olomouc,\r\n City Gallery Poli\u010dka,\r\n Centre Georges Pompidou Paris,\r\n Czech National Gallery,\r\n Moderna Museet Stockholm,\r\n private collections,\r\n Vodka Absolut Collection","monographies":"

Autorsk\u00e9 publikace:<\/strong><\/p>\r\n

2012\u20132016
Dokumenta\u010dn\u00ed bulletiny a kalend\u00e1\u0159e pro Galerii Kabinet Chaos, koncepce, design.<\/p>\r\n

2008
Kr\u00e1lovstv\u00ed, katalog k v\u00fdstav\u011b, Ghmp<\/p>\r\n

1999
Zemzoo, katalog k prezentaci na Bien\u00e1le v Ben\u00e1tk\u00e1ch.<\/p>\r\n

1995
\u201eV\u00fdlet\", um\u011bleck\u00fd projekt pro \u010dasopis Divus.<\/p>\r\n

1997
katalog Na hran\u011b obzoru, Ghmp a autorka, Praha
Um\u011blci sob\u011b \u2013 \u201eN.Y.\u201e, pro \u010dasopis Um\u011blec.<\/p>\r\n

1993
K. H. M\u00e1cha: M\u00e1j (autorsk\u00e1 v\u00fdtvarn\u00e1 publikace \u2013 ilustrace a grafick\u00e1 \u00faprava; diplomov\u00e1 pr\u00e1ce na V\u0160UP)<\/p>\r\n

1992\u20131997 um\u011bleck\u00e1 a grafick\u00e1 pr\u00e1ce pro \u010dasopis YAZZYK<\/p>\r\n\r\n

Publikace v kataloz\u00edch:<\/strong><\/p>\r\n

2016
Pr\u00e1ce, Galerie Sam 84, publikace dokumentuj\u00edc\u00ed aktivity galerie 1996 \u2013 2016.<\/p>\r\n

2014
Mezera, Lenka Lindaurov\u00e1, um\u011bn\u00ed 90. let. N\u011bkdy v Sukni, um\u011bn\u00ed 90. let, Pavl\u00edna   Morganov\u00e1.<\/p>\r\n

2010
Planeta Eden. Publikace Body Art, Thames and Hudson, Londyn.<\/p>\r\n

2009
\u010cesk\u00e1 fotografie 20.stolet\u00ed, Vladim\u00edr Birgus a Jan Ml\u010doch<\/p>\r\n

PraguePhoto. Photography and koncept, Lenka Lindaurov\u00e1. Woxart p\u0159edauk\u010dn\u00ed v\u00fdstava.<\/p>\r\n

Moje Evropa \u2013 sou\u010dasn\u00e9 \u010desk\u00e9 um\u011bn\u00ed a designPhotography and koncept, Eva Eisler. Po sametu, Karel Srp, GHMPSandra Baborovsk\u00e1. Gender Check \u2013 Femininity and Masculinity in the Art of Eastern Europe, MuMok, Bojana Pejic.<\/p>","articles":"

2020<\/p>\r\n

-          Kulturn\u00ed noviny, Pot\u0159ebuju podn\u011bty ze \u017eivota, rozhovor s Lenkou Dolanovou www.kulturni-noviny.cz\/print\/28741<\/a>.<\/p>\r\n

2019<\/p>\r\n

-          Flash Art Czech and Slovak Edition (Magie a ritu\u00e1ly), Pr\u00e1ce Veroniky \u0160rek Bromov\u00e9 v perspektiv\u011b           magie a ritu\u00e1lu, Mariana Serranov\u00e1.<\/p>\r\n

-          D\u011bjiny um\u011bn\u00ed v \u010desk\u00fdch zem\u00edch 800-2000, Ta\u0165\u00e1na Petrasov\u00e1 a Rostislav \u0160v\u00e1cha (eds),<\/p>\r\n

-          Arbor vitae  societas, \u00dastav      d\u011bjin       um\u011bn\u00ed Akademie v\u011bd \u010cesk\u00e9 republiky 2017, ISBN 978-80-904534-8-7.<\/p>\r\n

-          Bohemian Heritage, magazin pro sb\u011bratele a mecen\u00e1\u0161e um\u011bn\u00ed, odpov\u011bdi na ot\u00e1zky Lenky Lindaurov\u00e9.<\/p>\r\n

-          Pot\u0159ebuju podn\u011bty ze \u017eivota, rozhovor s Lenkou Dolanovou pro knihu, Um\u011blci Vyso\u010diny, OVG Jihlava,<\/p>\r\n

-          Artbiom, webov\u00e1 platforma ekologicky orientovan\u00e9ho um\u011bn\u00ed<\/p>\r\n

2018<\/p>\r\n

-          Fotograf Magazin, recenze v\u00fdstavy Bromfiles, Lenka Lindaurov\u00e1.<\/p>\r\n

-          T\u011blo-v\u00fdraz-objekt-koncept, Hana Stehl\u00edkov\u00e1 Babyr\u00e1dov\u00e1 a kolektiv, Doko\u0159\u00e1n a MUNI Press, 2018<\/p>\r\n

2017 <\/strong><\/p>\r\n

-          Medailon pro V\u00fdtvarnou Litomy\u0161l '17, rozhovor a kamera Tereza Jirou\u0161kov\u00e1.<\/p>\r\n

2016<\/p>\r\n

-          Czech photography, cycle of portraits of the Czech photographers, \u010cT.<\/p>\r\n

-          Cosmopolitan, Womans who have influence on me.<\/p>\r\n

-          Inerview and photo-documentation with Tom\u00e1\u0161 Pospiszyl in book Kmeny 90', BigBoss, Yinachi.<\/p>\r\n

2015<\/p>\r\n

-          - Instinkt, \u010d. 34, Handicapy d\u011blaj\u00ed \u010dlov\u011bka zaj\u00edmav\u011bj\u0161\u00edm, autor: Lucie Kl\u00edmov\u00e1. CCCD, Hong Kong,<\/p>\r\n

-          Dokumenta\u010dn\u00ed publikace z festival\u016f performance v \u010cesk\u00e9 republice, Ma\u010farsku, Polsku a Slovensku.<\/p>\r\n

-          Veronika \u0160rek Bromov\u00e1, Spojen\u00e9 n\u00e1doby: J\u00e1, um\u011bn\u00ed a hranice \u0161\u00edlenstv\u00ed, \u010dl\u00e1nek v odborn\u00e9m \u010dasopisu Arteterapie \u010d. 37\/2015, strana 5.<\/p>\r\n

-          Prague Post. com, Veronika \u0160rek Bromov\u00e1 expose her strenght, \u201eMysha\u201c Ko\u0161\u0165\u00e1lov\u00e1, 6. 5. 2015.<\/p>\r\n

2014<\/p>\r\n

-          Artalk, Trip tip, Galerie Kabinet Chaos ve St\u0159\u00edte\u017ei, autor: Anna Reme\u0161ov\u00e1.<\/p>\r\n

-          Lidov\u00e9 noviny, Srovn\u00e1n\u00ed v\u00fdstav Bromov\u00e9 a Dopitov\u00e9, Josef Chuchma.<\/p>\r\n

2011<\/p>\r\n

-          Reflex, \u201e\u017divot na hran\u011b\u201c, T\u00fdden\u00edk Hospod\u00e1\u0159sk\u00fdch novin, V\u00edkend, \u201cMoje \u0159e\u010d\u201d, profil.<\/p>\r\n

2010<\/p>\r\n

-          \u010cesk\u00fd rozhlas 6, srozhovor s Mark\u00e9tou \u0160ev\u010d\u00edkovou<\/p>\r\n

-          Trutnovinky, report\u00e1\u017e z vernis\u00e1\u017ee v\u00fdstavy Rehabilitace v Kulturn\u00edm centru Uffo, Trutnov.<\/p>\r\n

-          T\u00fdden\u00edk Reflex, \u201eCo m\u011b v posledn\u00ed dob\u011b zaujalo\u201c.<\/p>\r\n

2009<\/p>\r\n

-          Pr\u00e1vo, Krist\u00fdna K\u0159\u00ed\u017eov\u00e1. TV Arty\u010dok, rozhovor k v\u00fdstav\u011b Po sametu.<\/p>\r\n

-          www.designmag.cz\/umeni\/5358-veronika-bromova-brzy-uzavre-sve-kralovstvi.html<\/a><\/p>\r\n

-          Talk show Karla \u0160\u00edpa V\u0161echnoparty, \u010desk\u00e1 televize. \u010cesk\u00fd rozhlas 7, Christian Falvey, rozhovor<\/p>\r\n

2008<\/p>\r\n

-          \u010dl\u00e1nek, um\u011bn\u00ed rozen\u00e9 technologi\u00ed, Mapa, \u010dasopis pal\u00e1ce Akropolis.<\/p>\r\n

-          Art Antique, rozhovor k v\u00fdstav\u011b Kr\u00e1lovstv\u00ed.<\/p>\r\n

-          vltava.rozhlas.cz\/veronika-bromova-kralovstvi-5077794<\/a><\/p>\r\n\r\n

1999<\/p>\r\n

V\u00edt Havr\u00e1nek: Emotiones Provokted in Artist, # 1, p. 23<\/p>\r\n

Jeff Hush: ZEMZOO - Veronika Bromov\u00e1 in Atelier, # 1, p. 23<\/p>\r\n\r\n

1998<\/p>\r\n

Petr Volf: Energy Pump, interview in Reflex Weekly, # 11, pp. 16-19<\/p>\r\n

La\u010fka Bauerov\u00e1: The Shock of The Nude in The Prague Post,<\/p>\r\n

March 18-24, p. B3<\/p>\r\n

Olga Mal\u00e1, Karel Srp: in Czech Art in the 90s, catalogue of the<\/p>\r\n

permanent exhibition, Prague City Gallery<\/p>\r\n\r\n

1997<\/p>\r\n

Deanna Petherbridge: The Quick and The Dead, catalogue,<\/p>\r\n

Hayward Gallery, London, pp. 58-59<\/p>\r\n

Tereza Bruthansov\u00e1: Jeune art tcheque in Art Press, # 226,<\/p>\r\n

July\/August, pp. 64-65<\/p>\r\n

Karel Srp: Something about Photography and Other Media in Artist # 3, pp. 12-13<\/p>\r\n

Ji\u0159\u00ed \u010cernick\u00fd: So I mix it up a bit, interview in Koktejl # 7-8, p. 158<\/p>\r\n

Olga Mal\u00e1: Veronika Bromov\u00e1 in On the Edge of the Horizon, catalogue<\/p>\r\n

Tereza Bruthansov\u00e1: Worlds Temptingly Marked Top Secret, interview in On the Edge of the Horizon, catalogue<\/p>\r\n

Marta Smol\u00edkov\u00e1: Sur la ligne d\u00b4horizon in Paralleles Prague Paris,<\/p>\r\n

II, catalogue, pp. 24-27<\/p>\r\n\r\n

1996<\/p>\r\n

Tereza Bruthansov\u00e1: Another Perspective on the World of the Body in Imago # 2, pp. 6-11<\/p>\r\n

Jochen Poetter: Photographic Surgery in Urban Legends, catalogue, Staatlische Kunsthalle, Baden-Baden<\/p>\r\n\r\n

1995<\/p>\r\n

Andr\u00e9e Cooke: Interview in Flash Art #148, October, pp. 55<\/p>\r\n

Michaela K\u00e1dnerov\u00e1: Well-rounded People in Elle # 9, pp. 28<\/p>\r\n

Tereza Bruthansov\u00e1: Faces, Masks, Simulations in Kav\u00e1rna AFFA # 4, pp. 65<\/p>\r\n\r\n

artycok.tv\/artist\/bromova-veronika<\/a><\/p>\r\n

fotografmagazine.cz\/magazine\/nova-inscenace\/portfolia\/veronika-bromova\/<\/a><\/p>\r\n

as.cz\/veronika-bromova-kralovstvi-5077794<\/a><\/p>\r\n

www.sjch.cz\/veronika-bromova\/<\/a><\/p>","reviews":"","texts_unlisted":"","annotations":[{"text":"After completing her studies at the V\u00e1clav Hollar Secondary Art School in Prague, Veronika Bromov\u00e1 went on to graduate from the Illustration and Printmaking Studio headed by Professor Ji\u0159\u00ed \u0160alamoun at the Academy of Arts, Architecture and Design in Prague. She belongs to the generation of students who organised an occupation of universities during the Velvet Revolution in 1989\u20131990. Although Bromov\u00e1 specialised in illustration and printmaking, her work features mainly installation, photography and performance. However, her artistic activity is much broader; she might even be classified as one of the best known Czech intermedia artists. In addition, she is also involved in gallery operations and teaching, and is an art therapist and psychotherapist. She has huge experience with exhibitions, publications and curatorship. In 1997 and 2000, she was a finalist in the Jind\u0159ich Chalupeck\u00fd Award, and in 1999 represented the Czech Republic at the International Biennale in Venice. Between 2002 and 2011, she was head of the New Media Studio 2 (photographic and digital image) at the Academy of Fine Arts in Prague. In East Bohemia, specifically between Poli\u010dka and Litomy\u0161l, she organises a year-round exhibition, educational and cultural programme at the Kabinet Chaos Gallery, where she and her husband Ivan \u0160rek also organize art meetings and creative residencies and workshops.\r\n\r\nBromov\u00e1\u2019s main theme crystallises early in her work and is the female body, in particular its vulnerability, fragility and aesthetics. In addition, she often depicts its radical contiguities. Her fascination with the human body is linked to the intimacy of the family circle and natural rituals, but also to the search for the limits of human shame and a certain extravagance. She often works with satire, deconstruction and, to some extent, with a certain mysticism and secrecy. Her work includes experimentation with new technologies, which in turn is intertwined with an interest in nature, spirituality and mythology. She is also involved in civic activism, though issues related to femininity are not primarily perceived as a manifestation of feminist art, which often wants to shock and exhibit, but \u2013 as Milena Slavick\u00e1 states in Fotograf Magazine \u2013 \u201cVeronika Bromov\u00e1 is interested in the body \u2018professionally\u2019\u201d.[1]<\/sup>\u00a0And so she does not only point to the body and its sexuality. She also refers to other, more hidden content and interpretations, such as the position of the human being in society and in relation to nature. Bromov\u00e1 herself states that she has always been \u201cinterested in the human being, its external and internal organisation, the body and emotions, the stories it can tell through the material of the body.\u201d [2]<\/sup>\r\n\r\nBromov\u00e1 has been immersed in the \u201cphotographic environment\u201d since she was a child. Her parents, the artists Dagmar and Pavel Brom, used the techniques available at the time to produce a photographic derivative, from which they created collages, subsequently using the photograph, or parts thereof, in their prints.[3]<\/sup> Following on from these visual and technical experiments, during the 1990s, Bromov\u00e1 was one of the first artists on the Czech art scene to exhibit digitally manipulated photographs. She described these as \u201cunpainted images\u201d that underwent processes of \u201cphoto-amputation\u201d and subsequent \u201cphoto-implantation.\u201d[4]<\/sup> She first drew on what at that time was an experimental technique in a series of photographs entitled Tanec s\u00a0medicinbaly \/ Dancing with Medicine Balls<\/em> from 1993, which she displayed at the exhibition P\u0159edpoklady skute\u010dnosti \/ Assumptions of Reality<\/em> at the Municipal House in 1994. These techniques then reached their technological apogee in the 1996 series Pohledy \/ Views<\/em>, which was innovative from several points of view. In addition to the technical post-production, the series was perceived as progressive in terms of the motif itself, for the way it captured very intimate parts of the artist\u2019s own body, which were furthermore illustrated by views into the interior organs. This \u201cillustration\u201d also points to the fact that Bromov\u00e1 understood these photographs as the \u201cunpainted paintings\u201d referred to above, and their colour scheme and composition is therefore painterly, flat and aestheticising. Bromov\u00e1 examines with almost poignant expression her own physicality, relationships, communication, the theme of the inner versus the outer, identity, and questions of gender and sexuality. The series subsequently became a kind of icon of Czech body art of the 1990s, provoking discussions on feminist art, gender, and visuality as such.[5]<\/sup> The final series of Views<\/em> was preceded by the exhibition Nov\u00e1 jm\u00e9na \/ New Names<\/em> at the Prague House of Photography in 1995, where the first photograph from this series was exhibited, as well as the diptych Rozhovor \/ Interview<\/em> presented in 1994 at the exhibition ORBIS Fictus \u2013 New Media in Contemporary Art at the Waldstein Riding School.\r\n\r\nHowever, Bromov\u00e1\u2019s very first cycles include Zaklet\u00e9 princezny \/ Enchanted Princesses<\/em> from 1992 and the aforementioned Dance with Medicinal Balls<\/em> from 1993, exhibited at the Beh\u00e9m\u00f3t Gallery in Prague. In these works she also focuses on physicality, but leverages it in order to open up other themes. In both cases, she uses the female body as an aesthetic element that completes the overall composition. Her sister, partner and her friend, the photographer Mark\u00e9ta Othov\u00e1, all appear in the photographs, and the artist herself also becomes a model. Bromov\u00e1 gravitated towards this form of presentation in her childhood, when she tried to approach her idols from the West visually (such as the singer Madonna, who attracted her with her openness and distinctive visuality), but it did not have a major impact on her photographs at first.[6]<\/sup> According to Milena Slavick\u00e1, the turning point in the meaning of photographing oneself came around 2000, when Bromov\u00e1\u2019s view of her own body changed, suddenly becoming an important part of the photograph. In this way, the artist shows us her private self, and the photographs become more intimate. An example is the series Moje soubory \/ My Files<\/em> from 2004, which is a kind of photographic diary of the author's life.\r\n\r\nAn important starting point for Bromov\u00e1\u2019s artistic work is her family, the background in which she grew up and the things that surrounded her. The relationship with her parents and their influence on her artistic activity was revealed in the exhibition Dopis otci, dopis matce \/ Letter to Father, Letter to Mother<\/em>, which took place at the Pitevna Gallery in Brno in 2012. The author attempted to transfer the theme of family and its influence into a spatial installation, in which she brought together various objects, thus creating a kind of family collage. Later, in 2018 at the Fotograf Gallery, she developed this theme in the exhibition Bromfiles, which revealed the work of Bromov\u00e1\u2019s parents to be both in contrast and in harmony with the work of their daughter.\r\n\r\nBromov\u00e1 also explores social themes. In ZEMZOO<\/em>, she traces the narrow boundaries between freedom and the lack thereof. The project was subsequently exhibited at the 1999 Venice Biennale.[7] <\/sup>ZEMZOO<\/em> was created during the artist's stay in New York, where she was a 1998 artist-in-residence at the ISP (International Studio Program) supported by the Mutual Fund for Understanding and what was at that time the Soros Center for Contemporary Art in Prague. This stay in the USA was preceded by an exchange visit by Czech artists to the Whitney Museum of American Art in 1995, to which Bromov\u00e1 was invited by curator Radek V\u00e1\u0148a. During her stay in NYC, she created a slightly melancholic series entitled Kousky m\u011b \u2013 kousky NYC \/ Pieces of Me - Pieces of NYC<\/em>, a juxtaposition of a self-portrait and a motif from the big city. However, many photographs and videos from this time have not been published publicly or disseminated more widely. It was also during this period that she realised that she was interested in photography as a medium that captured a process in time and space, and began to call her self-portraits \u201cself-performances\u201d.\r\n\r\nAs already mentioned, Bromov\u00e1 also works with performance, which she combines with photography and other media. This was the case, for example, in the series Kr\u00e1lovstv\u00ed \/ Kingdom<\/em>, which she exhibited at the Prague City Gallery in 2008 and which details her journey through life, landscape, feelings and emotions. The kingdom in question is Bromov\u00e1\u2019s inner world, in which she finds herself in the role of a guide, experiencing a mystical moment that is, however, still grounded by the presence of physical and existential intervention. The title also refers to the fact that her native country was once a kingdom, and by implication it evokes associations with the Kingdom of Heaven (Bromov\u00e1 was inspired by the book The Mustard Seed<\/em> by the author Osho). Moreover, Bromov\u00e1 was living in Kr\u00e1lovsk\u00e9 Vinohrady at that time. Olga Mal\u00e1, the curator of the exhibition, says of the series that \u201cIt is not the story of the body or the story of a woman, it is the story of a contemporary human. [Veronika Bromov\u00e1] refers to the elemental human feelings that accompany a person's journey through life, such as the sadness of loneliness, existential distress and ecstatic bursts of joy.\u201d[8]<\/sup> It is as if we were watching the artist live a myth, which she embodies in her ongoing performance.\r\n\r\nIn 2014, Bromov\u00e1 had an exhibition at the V\u00e1clav \u0160p\u00e1la Gallery in Prague entitled P\u0159\u00edb\u011bh Chaosu \/ The Story of Chaos<\/em>. The exhibition recounted the story of the last six years and was a record of radical life changes. She addressed the contradiction between how we show the world to our children and what we are by nature, namely, predators who rule everything and everyone, whose life is therefore manifest in domination: we destroy nature and kill animal and plant species, and we are no strangers to the murder of our own species. During this period, Bromov\u00e1 moved to a village on the border of the Vyso\u010dina and\u00a0\u017dd\u00e1rsk\u00e9 vrchy regions, where she and her husband Ivan and their children inhabit a former farmstead, to which Ivan \u2013 inspired by Timothy Leary\u2019s book Chaos and Cyberculture<\/em> \u2013 gave the name Chaos: \u201cChaos as a synonym of our times, the search for balance and the balancing of extremes.\u201d[9]<\/sup> Here they also run the Chaos Cabinet Gallery, focusing on professional art and artists working with themes from the humanities and nature.\r\n\r\nNature and natural rituals are playing an increasingly important role in Bromov\u00e1\u2019s work. She is slowly moving away from technical solutions towards natural materials and turning her work and life towards nature, its power, and the relationship between humankind and nature. Similarly to her exhibition at the \u0160p\u00e1la Gallery, she is now responding to the current situation with regard to the laws of nature with an installation from spring 2020 entitled Divn\u00fd jaro, \u0159e\u010d\u00ed p\u0159\u00edrody v\u00a0kruhu koruny \/ Strange Spring, the Language of Nature in the Circle of the Crown<\/em>. Here she focuses on events surrounding the coronavirus pandemic and its impact on humans, nature and their interconnectedness, with an awareness of body and mind and subsequent unification and healing. Curator Petr Va\u0148ous states that, with this work, Bromov\u00e1 \u201creturns to the thematisation of the disrupted relationship between humans and nature within the context of the pandemic outbreak and against the backdrop of the ecological, spiritual and systemic transformations that can be observed on a local and global scale in recent years... Using methods close to shamanism and ritual, she finds parallels between the visible manifestations of health and illness in the natural world and the human body.\u201d[10]<\/sup> Bromov\u00e1 effects a shift in visual expression and brings it closer to today\u2019s accelerated reality, creating so-called tag-realities, i.e. drawings with a mobile phone. Here, the photograph is no longer just a shot, but a digital scan or drawing; it is a procedural capture of the movement of objects or the artist\u2019s own movement in nature or in another space. It might involve, for example, taking pictures from a train and then compressing the images of reality into condensed scans of outdoor reality. The output is then shorter videos, time-lapse, slow motion, iPad or iPhone drawings embedded in photos, drawn animations embedded in individual photos.\r\n\r\nThe artist has already worked with this creative principle at an exhibition in the Museum of Arts and Design in Bene\u0161ov called Skenyreality \/ Reality Scans<\/em> in 2019, where she presented the collected reality from our mobile phones. She does not perceive these digital images as photography, but as a scan of the surface of realities \u2013 our earth. For her, reality scans symbolise a visual representation of the torn, top layer of our reality, our lived experience \u2013 the zeitgeist. Bromov\u00e1 goes on to say that the scans \u201crefer to the fluidity, changeability, fragility and digitalisation of all layers of our lives, and the fact that we are all at the same time content fillers of hollowed-out corporations, transnational bodies without souls, without content, mega-firms that control us and to which we supply content \u2013 souls \u2013 through our mobile phones and computers.\u201d[11]<\/sup> Skenyreality<\/em> shows how we have succumbed to these technologies and how, thanks to them, we willingly surrender all our data. They have our fingerprint, face, handwriting, voice, weight, stride length, heartbeat, and they can see into the interiors of our homes, our hearts and brains, the outcome being a \u201csubstitution of the place of God.\u201d [12]<\/sup>\r\n\r\nBromov\u00e1 works spontaneously, intuitively and with a certain automatism \u2013 her photographs are usually not planned in advance. She photographs her performances and the camera records the process of impulsive creation. Photography thus becomes a medium for the artist to capture the actual moment, which she then transforms, adding other layers and positions. Daniel Vojt\u011bch sums up Bromov\u00e1\u2019s work as follows: \u201cVeroniky Bromov\u00e1\u2019s work is not photographic in the sense of refining and expanding the reproductive possibilities of this medium. It is manipulated and painterly: photo-imaging.\u201d[13]<\/sup> Her visual language is clearly legible. She uses her body as material demonstrating her feelings, which she presents to a wider audience in a comprehensible language. A form of exhibitionism is therefore appropriate. Bromov\u00e1\u2019s photographs reflect her own life experience. She thus plays the role of a guide who mediates the movements of her mind, what she is going through in her life, to the viewers.[14]<\/sup> We might also recall that Bromov\u00e1 considers her Instagram account to be an important part of her own artistic work, where she presents the projects she is currently working on and her state of mind.\r\n\r\nIn recent years we can observe a clear turn within the art world towards ecological and social issues arising from our current predicament. Bromov\u00e1 works with living material, prints, wood, wax and natural pigments, which she uses more and more often, creating so-called Veroprints or Veromandalas. She also works with cyanotype \u2013 a photographic technique using the photosensitivity of iron salts. Bromov\u00e1\u2019s performative activities are similarly varied \u2013 she has worked with Kolouch\u2019s Dream, currently performs with Die Frucht, and creates so-called skirt performances, where during a given ritual she writes down the course of the action on a skirt, which thus becomes its imprint or image.\r\n\r\nThis brief summary of Veronika Bromov\u00e1\u2019s artistic activities in recent years reveals her connection with nature and natural principles, which she transforms into her own personal journey presented through art, which \u2013 as she wrote for Arbiom.cz \u2013 \u201chas a great power to heal both personal and social wounds and ailments.\u201d[15]<\/sup>\r\n\r\n \r\n\r\n

\r\n\r\n[1]<\/sup> Milena Slavick\u00e1, Veronika Bromov\u00e1, Fotograf Magazine https:\/\/fotografmagazine.cz\/magazine\/nova-inscenace\/portfolia\/veronika-bromova\/<\/a>, vyhled\u00e1no 3. 8. 2020.\r\n[2]<\/sup> Veronika Bromov\u00e1, http:\/\/planeta-chaos.cz\/veronika-srek-bromova-umeni-art\/<\/a>, accessed 2 August 2020.\r\n[3]<\/sup> Mariana Serranov\u00e1, Veronika Bromov\u00e1, Dagmar a Pavel Bromovi\u00a0 \u2014 Bromfiles \u2014 Rodinn\u00e1 manufaktura, accessed 15 August 2020 https:\/\/fotografgallery.cz\/bromfiles\/as.cz\/veronika-bromova-kralovstvi-5077794.<\/a>\r\n[4]<\/sup> Ibidem, https:\/\/fotografgallery.cz\/bromfiles\/#sdfootnote4sym<\/a>\r\n[5]<\/sup> Report\u00e1\u017e, https:\/\/artycok.tv\/457\/kingdoms<\/u><\/a>, <\/u>accessed 15 August 2020.\r\n[6]<\/sup> Mozaika, 2020 https:\/\/vltava.rozhlas.cz\/veronika-bromova-kralovstvi-5077794,<\/a> accessed 15 August 2020.\r\n[7]<\/sup> See fn. 4. https:\/\/artycok.tv\/457\/kingdoms<\/u><\/a>\r\n[8]<\/sup> Olga Mal\u00e1, Kr\u00e1lovstv\u00ed dcery sv\u00e9ho v\u011bku, in: Veronika Bromov\u00e1 Kr\u00e1lovstv\u00ed (exh. cat.), Praha 2008, s. 17.\r\n[9]<\/sup> Planeta Chaos http:\/\/planeta-chaos.cz\/galerie-gallery-kabinet-chaos\/<\/a>, accessed on 16 August 2020.\r\n[10]<\/sup> Petr Va\u0148ous, DIVN\u00dd JARO - \u0159e\u010d\u00ed p\u0159\u00edrody v kruhu koruny, curator\u2019s text to the exhibition running 5 June \u2013 31 July 2020.\r\n[11]<\/sup> Veronika \u0160rek Bromov\u00e1, 25. 10. 2020.\r\n[12]<\/sup> Veronika \u0160rek Bromov\u00e1, 25. 10. 2020.\r\n[13]<\/sup> Daniel Vojt\u011bch, Vid\u011bt jin\u00e1 m\u00edsta, in: Veronika Bromov\u00e1 Kr\u00e1lovstv\u00ed (exh. cat.), Praha 2008, s. 8.\r\n[14]<\/sup> See fn. 6. https:\/\/vltava.rozhlas.cz\/veronika-bromova-kralovstvi-5077794<\/a>\r\n[15]<\/sup> www.artbiom.cz\/artist\/4\/veronika-bromova<\/a>","date":2020,"authors":[1913]},{"text":"The artist works with various creative and technical materials. Her tools are the image, sound, installations, and above all else new media (digital photography, video, etc.) and multimedia. Bromov\u00e1 devotes her time to the specific iconography of the body, which she inspects with the help of technical imaging. Actually this is a sort of confrontation between the body and the camera (even a violent confrontation). The technical apparatus (the camera) opens previously unknown views into a micro-world, the organism\u2019s interior ... it maximises details. In a symbiosis with the body, however, mutations, montages, interchanging of identity and loss of intimacy come about. Playing with the camera evokes satisfaction, yet also means a memento. A view below the body\u2019s surface, into its trembling interior ... we know this also from scientific and anatomical imaging: also from tricks done in popular entertainment. As if the body were stripped of its skin. At the same time this process also transforms I, the artist and the viewer. The I becomes a quasi-theatrical role, in which stylisation and auto-stylisation take place. Exhibitionism or rather a desire to perform plays out. These processes are of course the basis of interhuman communication, yet here they fall apart. The body still alone reposes in a virtual space; ultimately it becomes imprisoned. This brings about the body\u2019s deformation. The body reacts with futile, expressive screams (which probably also represents a commentary on certain gender stereotypes). Privacy and intimacy become a barrier. Attempts to publish the deformed and provocative body are meant to lead to the provocative destruction of this closely-guarded boundary. Artefacts comment attempts to break down barriers, borders and limits between the public and private space, the border between convention and traditional roles, etc. This however is never fully achieved; nonetheless, a delight tied to this effort remains.","date":2004,"authors":[1834]}],"artworks":[109771,109772,109773,109774,109775,109776,109777,109778,109779,109780,109781,109782,109783,109784,109785,110274,110275,119258,119259,119260,119261,119262,119263,119264],"videos":""},"yoast_head":"\nBromov\u00e1 \u0160rek - 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\/veronika-bromova-srek\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Bromov\u00e1 \u0160rek - Artlist\" \/>\n<meta property=\"og:url\" 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