Oskár Čepan

EDUCATION: 2011 PhD at Academy of Fine Arts in Prague 2008 ArtD. study at Academy of Fine Arts in Prague, doc. Vladimír Skrepl; 2000/2006 Academy of Fine Arts in Prague, Prof. Miloš Šejn, Prof. Milan Knížák;

SELECTED SOLO EXHIBITIONS: 2014 – “The Old light IN THE GALAXIES DEPARTMENT”, curated by Ján Zálešák, Fait gallery, Brno, CZ; 2013 – Constellation, curated by Yvona Ferencová, Moravian Gallery in Brno, CZ; “Woman in the Moon”, curated by Sandra Baborovská, Prague City Gallery, Prague, CZ; 2012 – Missing Chapter, curated by Tereza Stejskalová, Drdova Gallery, Prague, CZ; 2011 – A Message from the Neocortex, curated by Sandra Baborovská, Prague City Gallery, The Golden Ring, Prague, CZ;

SELECTED GROUP EXHIBITIONS: 2014 – Europe, Europe, curated by Hans Ulrich Obrist, Thomas Boutoux and Gunnar B. Kvaran, Astrup Fearnley Museet, Oslo; Circular Ruins, curated by Jean-Marc Avrilla, Meetfactory gallery, Institut Francais de Prague; 9th Biennial of Photography and Visual Arts, Liege, BE; 2013 – Jamais Vu, curated by Maria Niemyjska, Art Gallery Wozownia, Torun, PL; Things and People, curated by Michal Jachula, Arsenal Gallery, Bialystok, PL; Grey Zone, with Mihut Boscu Kafchin, Peter Puklus, curated by Zita Sárvari, Krokus Gallery, Bratislava, SK; 2012 – Systems and Accidents, with Cyril Blažo, Tomáš Džadoň, Eva Koťátková, curated by Lída Pribišová, Exelettrofonica, Rome, IT; The Stars Look Different Today, curated by Zita Sarvari, Dovin Gallery Budapest, HU; On the contrary, curated by Karina Kottová, Meetfactory, Prague; The Beginning of the Century, curated by Pavlína Morganová, Pilsen Regional Museum, Pilsen, CZ; The Islands of Resistance. Between the First and Second Modernity 1985-2012, curated by Jiří Ševčík, Edith Jeřábková and Jana Ševčíková, National Gallery in Prague at the Veletržní Palace, Prague; 2011 – Short Amorpha, curated by Luke Styles, BFI London, GB; Raum Selbst, curated by Friederike Hauffe The Brno House of Arts, Brno, CZ; Prague Biennale 5, curated by Vjera Borozan a Mariana Serranová, Microna, Prague; Critical Space, curated by Áron Fenyvesi, Trafo Gallery, Budapest, HU; 2010 – The Bell 2010 Young Art Biennial, curated by Tomas Pospiszyl, Prague City Gallery, The Stone Bell, Prague; Oskár Čepan Award Final 2010, Medium, Bratislava, SK; Collectors. The Czecho-Slovak Pavilion, curated by Lucie Drdová a Martin Mazanec, Brot Kunsthalle, Vienna, AT;..

AWARDS, ARTIST RESIDENCES & FESTIVALS: 2010 – Visegrad Artist Residency Program, Studio of Young Artists Association, Budapest, HU; 2009 – Pépinières européennes pour jeunes artistes, Cooperative Méduse, Quebec, CA; Václav Chad Award, V. Salon of Young Artists, Zlín, CZ; 2007 – Cyprian Award, Bienale of Young Slovak Art, Trnava, SK; 2006 – DAAD stipend, UDK Berlin, DE; Prize of the AFA Dean in Prague; 2004 – Erasmus stipend, Gray School of Art Aberdeen, GB; 2002 – Kunstlerwege, AKA Stuttgart, DE; Josef Hlávka Award, Prague;

Statement

...

Curatorial statement

While the art of painting, thanks to the preliminary effort to disprove the thesis about its death, which, actually, has never been uttered, reflexively renews its validity in the czecho-slovak context and it sometimes even surprises, the crisis of plastic art, which is tactfully kept in silence, has been continuing. And continuing. There is only a few artists who have been able to make in plastic art at least something valuable from the rest of what has remained of art and things around it. At random: Stanislav Kolíbal, Jozef Jankovič, Eva Kmentová, Mária Bartuszová, Věra Janoušková, Tomáš Hlavina. For artists of younger generations it is after all their own decision whether to be brought up with models and influences, or against them. Pavla Sceranková is an artist whose objects are for me more of a sculpture than the environment or installation. However do they activate the viewer, or user, however do they refer to the function and the precondition of their shape, however do they unwind from the concept and idea in space, they eventually create for themselves their own position, they find the form, articulate the features of the used material and somehow – in their using, motion, offered possibilities - they last. In their lapidary character, likeable straightness in searching for formal answers to the questions based on phenomenologically coloured astonishment over the mental reactions to the physical space they not only surprise but also ascertain about the productivity of the extended field of the plastic art practice.

Marek Pokorný, Brno, June 2010