Darina Alster belongs to the generation that spent the sensitive age of adolescence in the 1990s, which has reflected in her work in a certain way. The extent of her work is wide but the fundamental thing for her is her direct message. That is why she most often expresses herself in the form of performances or happenings. She implements her thoughts in individual presentations. She examines the topics of time, religion and the polarity of the technocratic and spiritual world.
A typical trait of her thought is presenting multi-contents through formal parallels. This stimulant specifically appears, for example, in White Cubic (2006, Sculpture Grande 06). Darina Alster, together with other co-workers, created live images based on the telephone request of passersby in a white cube 3 x 3 x 3 m, located on Wenceslas Square. The text message that the participants of the happening sent, appeared simultaneously on the display in front of the cube. The formal parallels were represented here by co-performers who, each in their own way, reacted to various aspects of one person. The main motive was to reproduce the personalities inside of oneself, as well as an intimate interconnection of random pedestrians with the performers in a distant way through the text messages. Another similar example is the installation Non Stop (2008) for the Gallery Vernon that originated on the basis of a drawing of the mutual location of words that express existential thought amplified by background scenery of cheapness. She put black plastic on the walls of the gallery and a neon sign Object – Victim – Human was simultaneously glimmering in the showcase. Darina based the trio of these words on the subconscious connection of them and their relationship determined the rhythm of the lighting up neon. The formal parallels can also be found in Darinas other examples.
Another example characterizing her work is the contrasting connection of living elements and technical elements or as she herself describes like a Fortune teller in the TV show Artmix “the media of the ancient past with the modern media”. One of them is her graduate work Personal Tarot (2007). Twenty-two tarot cards appeared on a touch display monitor and under each of them a short film or video performance gradually appeared by the form of random projection, which was the author’s interpretation of the meaning of that card. Personal Tarot was located in a panel computer for two months at Náměstí Republiky in the centre of Prague. She later developed this project into Tarot Mobiles (2008) where each mobile telephone corresponds to the title and content of the cards: “The viewer has the possibility to call a card and hear its opinion, leave a message in the voicemail, write a text message or MMS, basically just communicate.” Or in more detail in Tarot Office (2009), which she organized in the Gallery Vernon City, where she connected a PC with an interactive tarot, Tarot Mobiles and a performance of Johana Střížková who performed fortune telling figures for the client according to the card choice. Darina Alster uses cooperation in other projects – in Naked Lunch (2008) she invited her male friends to dress in the spirit of businessmen from the 1990s and to alternately read from the book Naked Lunch by William Burroughs in the castle chapel in Letovice. She put together a seven-hour recording from three perspectives. Or in the project Videoautomat (2009), within the scope of the festival Mezipatra, she built a temporary film studio and offered the visitors to cooperate with her. The incomers had the possibility to create a one-minute video according to their own script. She utilized technical collaboration with Michael Markert (D) by a TV statue, Broken TVE5 (2011) is an audiovisual installation with a flat monitor in a box where the damaged image of ČT24 is running to the background of synthetically read British News.
Her performances are connected with corporeality in, for example, Bianca Braselli (2008), Samotný Akt Performance (Actual Act of Performance) (2011) or Synchrolove (2012). In some of her work she examines the critique of the system – Treasure (2005) or Memorial for the Victims of Capitalism (2011).
Solidarita, july 2012, autor of article :Jiří Ruppert
Deník referendum, june 2012, autor of article: Adam Borzič
Atelier, june 2012, press-release Monument to victims of capitalism
Atelier, july2009, autor of article: Adam Borzič
Nový Prostor, november 2008,autor of article: Jiří Ptáček
TIME IN, september 2008, autor of article: Lenka Moravkova
TIME IN,january 2008, autor of article: Lenka Moravkova
Umělec 2007/3, autor of article: Magdalena Bažantová