Stano Masár (*1971)
Slovak Visual Art of the 20th Century, 2005

c-print on plastic slates, 15 x 15 cm each, 58 pieces
acquired by purchasing from the author in 2008

Visual and the closely correlating semantic paradox is an important principle of the author’s work. It is apparent mainly in installations and pieces created from appropriated common objects (ready-mades), which are playful, sometimes even absurd embodiments of their function and purpose.

A significant part of the author’s work concerns with art itself. Applying a similar principle of visual correction ÔÇô in this case a┬átranscription of particular work into a┬ásimple form of ÔÇťcompressed dataÔÇŁ that, however, retains the essence of the original work ÔÇô the author questions the border (and its permeability) between the world of art and the current reality. Furthermore, the author’s “transcripts” of well-known works challenge their originality; subversively shifting them from the so-called “high” art to other dimensions (their form resembles warning signs, for example). Simultaneously, the series of Slovak (and international) artworks present a sophisticated play with the viewer: the involved ones see them as a┬áwitty visual abbreviation and a┬áplayful quiz of their knowledge of art, the laymen can approach it as a ÔÇťcrash courseÔÇŁ on art, or at least an introduction to it, through which the author encourages the viewer to find out the original work. Their updated versions (sources of information about the originals) stem from the well-known publication The History of Slovak Visual Art ÔÇô 20th century.