Markéta Korečková

Markéta Korečková ranks among the most notable sculptors from the generation that arrived on the Czech art scene during the second half of the 1990s. The artist found a viable theme for creating her statues and statue installations in the archetypally-perceived polarity given by the male / female principle. It is with a certain dose of irony that she follows current transformations and new ”demarcation“ of both poles in a changing society. For Korečková it is characteristic to use atypical materials to build sculptural forms along with the usage and transformation of already existing language forms in emerging spatial works (her inspiration is, for example, fairy-tales, historical teaching literature, folklore, comics, sci-fi stories, etc.). Her leitmotif is the heterogeneous pairing: a character-figure, which takes on a symbolic meaning. These are the motors of all action, creation, endurance, disappearance (closure), and renewal of life paths. The ”prince“ and “princess“ are the ideal attributive prototypes joining in themselves the ideal of corporal and spiritual. In non-descript geometric forms it is then the centre (most often a circle) and a vertical (a column, a stem/trunk) shown as a symbolic transcription of male and female sexuality. Markéta Korečková’s quota for realisation up to now indicates dynamic movement, at which she arrives inside the sculptural concept oscillating between the male and female principle, alternatively working with their mutual distinction or, to the contrary, merging. This is reflected in the opportunely hybrid organic forms that join in themselves heterogeneous material elements and technologies. Her initial attacking humour and irony, which the viewer feels upon immediate contact with the artist’s works, gradually slow down and turn into a sort of damaging seriousness relating to basic questions on the actual form and sense of being itself (in the Buberian relationship of YOU and I and outside that). It is as if through the statue’s surface we analogically get inside a certain problem, into a trap created by weaving a spiral and countermovements, a living tissue, swallowing organs and pulsing sap, into the concrete form of something we reminisce about, but which we will seemingly never be able to fully recall. Korečková masterfully uses the strategy of contrast. Something on the order of immediate cooling, a fast death, restart, etc. Further unsuspected meanings and associational depths wait beyond the first omnipresent, relaxed, ironic level.

INtroCITY/ Nukleární rodina (katalog), P. Vaňous, 2008

Revue art 4/2007,Ironický výkřik a úzkostné echo, P. Vaňous

ČT2,Artmix 6 a7.10. Talent měsíce 2007

A2,rubrika Galerie,P.Vaňous,2007

Dívčí sen,(katalog).B.Lungová,2006

Krvavé romance (recenze),Atelier, 2006

Kvalitní řešení,(recenze), M.Vítková, Atelier,2006

Krvavé romance (recenze),R. Janás, Art Antiques, 2006

Kvalitní řešení,(katalog), M.Vítková, 2006

Růžovka,(recenze),P.Fimfrlová, Ateliér 2005

Sedmioké veverky a romantický horor,(recenze),J.Duhajský, Ateliér,2005

Lesbická škola Karla Nepraše,(recenze),J. Vomáčka, Ateliér,2005

Dole Bez,(recenze),M.Seranová,Ateliér 2004

Klasika 2000,(katalog),Š.Bieleszová,2000

Diplomanti AVU,(katalog),1999,J. David, T. Kotalík, 1999