Juliana Höschlová

Gerson’s Miracle

recycled plastic

Pekařská 405/16

8. 8. 2019, 17–22 karaoke performance

 

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Juliana Höschlová is concerned with the relationship between humans and the environment which is now highly thematicised in connection with the topical issue of climate crisis. Addressing the sphere of care and responsibility, the artist researches into new materials that she introduces by means of special original techniques – abstract biopainting or creating plastiglomerate objects. The artist perceives an abandoned house in the city organism as an embodiment of society’s partial failures, or more generally as faulty system settings. 

The story of Juliana Höschlová's installation has an additional dimension: it eloquently illustrates the situation when the "public space itself" becomes a co-creator with all of its particularities, restrictions by authorities, unwillingness on the part of owners and tenants, i.e. the whole administratively bureaucratic and socially political web that it is part of. The house on Pekařská St is the third location that the artist had to work with when preparing her installation. The curatorial team together with the artist initially thought about two devastated houses on Rosická St in front of the lower railway station. The installation there was to have brought attention to the pitiful condition of industrial heritage in Brno and the unused potential of the area in which the buildings were situated, as well as the thorny topic of the location of Brno's main railway station discussed without any success for almost a whole century. Another attempt by the artist was made in the city centre in the Pohořelec area, which is delimited by the never fully completed Baťa's skyscraper and an unused functionalist administrative building she wanted to enter with her installation. But the artist with the curatorial team did not succeed there either.

So far the latest location for Juliana Höschlová's installation is a building on Pekařská St, the appearance of which is fully in line with the architecture of Brno suburbs from the second half of the 19th century when Pekařská St was one of the most important city thoroughfares and a number of surviving facades of surrounding houses were adapted to its importance. Presently the house is partly used only on the ground floor and the rest remains uninhabited and is gradually deteriorating.

The principal motif of Juliana Höschlová – alongside eco-activism – is the perseverance with which she makes her interventions in the city: the artist could not be deterred from an effort to draw attention to houses and places lacking care even by the suggested obstacles. For her it is of little importance whether they are buildings in the historical city centre, on the periphery or in a brownfield area. Her approach knows no compromises – the visual design of her installations from recycled plastic tends to augment their “apocalyptic charisma", rather than enshroud it.