Anetta Mona Chisa & Lucia Tkacova
Prophecy of Things, 2016
Wool
Unique
148 x 87 cm ( 58 1/4 x 34 1/4 inch )
Installation view, KINDL Berlin, 2016
Clash!, 2012/13
Porcelain, acrylic paint
Photo credit: Jens Ziehe
Installation view, Rotwand Zürich, 2016
Photo credit: Alexander Hana
Anetta Mona Chisa & Lucia Tkacova
Totem II, 2015
Various Books
Unique
191 x 22 x 15 cm (75 1/4 x 8 5/8 x 5 7/8 inch)
Installation view, Rotwand Zürich, 2016
Photo credit: Alexander Hana
Installation view, Rotwand Zürich, 2016
Photo credit: Alexander Hana
Anetta Mona Chisa & Lucia Tkacova
Things in Our Hands I, 2015
C-print, framed
Edition of 3 (+1AP)
107 x 82 cm ( 42 1/8 x 32 1/4 inch )
Anetta Mona Chisa & Lucia Tkacova
Things in Our Hands, 2014
Object casted from melted euro coins
Edition 2 of 2 (+ 1AP)
5 x 8 x 8 cm (2 x 3 1/8 x 3 1/8 inch)
Anetta Mona Chisa & Lucia Tkacova
Things in Our Hands, 2014
Object casted from melted euro coins
Edition 2 of 2 (+ 1AP)
5 x 8 x 8 cm (2 x 3 1/8 x 3 1/8 inch)
Installation view, Rotwand Zürich, 2016
Photo credit: Alexander Hana
Anetta Mona Chisa & Lucia Tkacova
Pentachoron, 2016
Bones
Unique
20 x 24 x 24 cm (7 7/8 x 9 1/2 x 9 1/2 inch)
Installation view, Rotwand Zürich, 2016
Photo credit: Alexander Hana
Anetta Mona Chisa & Lucia Tkacova
Attention! Here and now, boys! Here and now! (detail), 2015
Installation with carpet, wire, trained parrots, oneida bowls, ropes
Installation view at GAK Gesellschaft für Aktuelle Kunst, Bremen, 2015
Photo credit: Tobias Hübel
Anetta Mona Chisa & Lucia Tkacova
Attention! Here and now, boys! Here and now! (detail), 2015
Installation with carpet, wire, trained parrots, oneida bowls, ropes
Installation view at GAK Gesellschaft für Aktuelle Kunst, Bremen, 2015
Photo credit: Tobias Hübel
Anetta Mona Chisa & Lucia Tkacova
ah, soul in a coma, act naive, attack, Solo show at GAK Gesellschaft für Aktuelle Kunst, Bremen, 2015
Installation view
Photo credit: Tobias Hübel
Anetta Mona Chisa & Lucia Tkacova
What's What, and What It Might be Reasonable to Do about What's What, 2015
English dictionary
30 x 20 x 20 cm
Photo credit: Tobias Hübel
Anetta Mona Chisa & Lucia Tkacova
Things in Our Hands, 2014
Melted Euro cent coins
Dimensions variabel
Installation view at GAK Gesellschaft für Aktuelle Kunst, Bremen, 2015
Photo credit: Tobias Hübel
Anetta Mona Chisa & Lucia Tkacova
Down is the New Up, 2013
Parachute, plaster fists and nail polish
Dimensions variable
Installation view at abc, Berlin, 2013
netta Mona Chisa & Lucia Tkacova
Down is the New Up, 2013
Parachute, plaster fists and nail polish
Dimensions variable
Installation view at abc, Berlin, 2013
Anetta Mona Chisa & Lucia Tkacova
i aM a venus, A conch, a kiT, a Cat, a Lot, Solo show at Rotwand, Zurich, 2012
Installation view
Anetta Mona Chisa & Lucia Tkacova
i aM a venus, A conch, a kiT, a Cat, a Lot, Solo show at Rotwand, Zurich, 2012
Installation view
Anetta Mona Chisa & Lucia Tkacova
i aM a venus, A conch, a kiT, a Cat, a Lot, Solo show at Rotwand, Zurich, 2012
Installation view
Anetta Mona Chisa & Lucia Tkacova, 2012
Installation of 5 TV sets, 5 DVD payers, cables
Dimension variable
Anetta Mona Chisa & Lucia Tkacova
Try again. Fail again. Fail better., 2011
Video, 7 min 57 sec
Video still
Edition 2 of 3 (+ 2AP)
Anetta Mona Chisa & Lucia Tkacova
Rumanian Pavilion, Venice Biennale, Vennice, 2011
Installation view
Anetta Mona Chisa & Lucia Tkacova
After the Order, 2011
Cake
60 x 180 x 60 cm (23 5/8 x 70 7/8 x 23 5/8 in)
Anetta Mona Chisa & Lucia Tkacova
Freedom Trash Can, 2011
Barrel, paint, lights, fan, silk, bricks
Anetta Mona Chisa & Lucia Tkacova
Manifesto of Futurist Woman (Let's Conclude), 2008
Video, 11 min 13 sec
Video still
EXHIBITIONS AT ROTWAND
Anetta Mona Chisa & Lucia Tkacova, 2012Anetta Mona Chisa & Lucia Tkacova, 2016
BiographyDocumentation
Born in 1975 in Romania / 1977 in Slovakia
Live and work in Prague and Berlin.
In 2000 Anetta Mona Chisa and Lucia Tkacova establish their collaborative practice, deciding to do “a piece on the road together.” Over the course of the twelve years that followed they are to remain a party of two, in which they do not engage with each other as a couple but as a pair. A year after they met they produced a video piece indicatively entitled Les amies (Girlfriends, 2000), which does not, however, explicitly deal with their own friendship. Instead it offers a feminist look at a liaison between a girlish-looking woman and a doll, a huge Barbie, which suggests the woman as both consumer and consumed (as an image). It also comically counters the notion of femininity as based on the familiar fiction of “diamonds are a girl’s best friend” while drawing on the revamped image of the 1990s “IT-girl.” And even though this piece is technically raw in comparison their later, more “polished” artworks, it touches on many issues that recur in their art later on: a critique of commodity and the entire spectrum of neoliberal capitalism, the way women are forced into stereotypes, and the role of the authoritative gaze in the consumption of art. Soon they begin to address the mechanisms of the art system to which they belong, asking unpleasant questions about its working processes and impact, as in they did in Romanian pavilion at the Venice Biennial of 2011. What has defined and solidified their friendship—in life and in art—is their sense of humor and their unmatched capacity for self-irony. Indeed, in their work laughter functions as critical mechanism, not merely as a source of enjoyment.
Text excerpt: Bojana Pejic´