ADRIANA KORKOS, Master of Arts (Honours), Visual and Performing Arts
14 November 1969
EDUCATION
Western Sydney University, Sydney, Australia
Masters of Visual and Performing Arts (with Honours), 1992-1994
Research Paper, "Art and Abortions," accompanied by a Final Visual Art Exhibition. Undertook postgraduate research and visual practice under the supervision of Cheo Chai-Hiang, Senior Lecturer, School of Contemporary Arts, University of Western Sydney; with Dr. Anne Graham and Prof. Graham Marchant.
Academy of Arts, Architecture and Design (VSUP), Prague, Czech republic
Postgraduate Independent Study - Experimental Project (Exhibition & Research Paper “Dialoque with Termites”), 1996
After completing a Master’s degree in Australia, returned to Prague in 1996 to pursue independent study and research. Continued an independent artistic practice through research and exhibition, including Dialogue with Termites, developed under the guidance of Prof. Kurt Gebauer and presented in a solo exhibition at Pecka Art Gallery, Prague.
Academy of Arts, Architecture and Design (VSUP), Prague, Czech republic
Undertook three years of full time studies at the Vysoká škola uměleckoprůmyslová v Praze (VŠUP), now the Academy of Arts, Architecture and Design in Prague (UMPRUM), 1988-1991
Studio of Textile Art (Ateliér textilního výtvarnictví) under Prof. Vlastimil Vodák (1988–1989); Studio of Spatial Textile Art and Alternative Techniques (Ateliér prostorové tvorby textilu a alternativních technik) under Prof. Adéla Matasová (1989–1990); and Studio of Universal Sculpture (Ateliér veškerého sochařství) under Prof. Kurt Gebauer (1990–1991). The studies encompassed experimental approaches to sculpture, object, space, material, textile, and other spatial relationships, and the development of an independent artistic practice.
Škola umeleckého priemyslu / School of Applied Arts, Bratislava, Slovakia
Secondary School Leaving Certificate (Maturita) - Art and Applied Arts
Visual Arts and Ceramic Studio, under Prof. Ambróz Pajdlhauser, Prof. Michal Zdravecký, and Prof. Ivica Langerová Vidrová, with a focus on drawing, visual studies, ceramics, material exploration, and three-dimensional artistic expression.
OTHER AREAS OF STUDY / RESIDENCIES / RESEARCH (selected projects)
Artist in Residence at CITE Internationale des Arts, 1996, Paris, France
Research, Installation, Sculpture: “Silent Stories (Lost Memories)”
Silent Stories (Lost Memories) was developed during a period of independent research in Paris, exploring the relationship between memory, neural connections, human relationships, and the city as an external memory system. The work considered how connections between people, places, experiences, and movement contribute to the formation of individual and collective memory, and how these processes might be translated into physical and spatial form. The installation was deliberately composed in white on white, within an atmosphere of quiet and restraint. Small metallic finished sculptures were placed in unexpected, almost hidden locations, creating a sense of absence and discovery. The silence became an active element of the work, a space in which the viewer might feel compelled to fill what was missing, encountering the resonance of something lost or something that words cannot fully articulate.
The sculptures initially appeared almost invisible. Yet, upon closer engagement, subtle reflections of color began to emerge from surfaces and recessed areas. Colors intentionally placed away from immediate view. White was therefore not simply white; the seemingly empty space contained another layer waiting to be discovered. A soft, living glow gradually touched the metal forms, suggesting the presence of memories, voices, and invisible forces beneath the surface. The work sought to give material presence to what cannot readily be seen or spoken: forgotten experiences, suppressed memories, human connections, and the traces that remain after something, or someone has disappeared.
Ultimately, Silent Stories (Lost Memories) invited the viewer into an intimate process of looking, remembering, and rediscovering. The hidden sculptures became catalysts through which the viewer could encounter not only the lost stories embedded within the work, but potentially fragments of their own memories and inner landscapes.
Artist Residency, Villa Arson, 1990, Nice, France
Sea Memory — Land Art, Installation, Video and Poetry
Exhibition was held held 15–22 May 1990, and was named “Étudiants de la Vysoka Skola de Prague” at Villa Arson's National Contemporary Art Center Gallery. I was selected for residency together with other art students. The full list, Martin Balcar, Markéta Burianová, Adriana Korkošová (Adriana Korkos), Andrej Kratky, Oto Macek, Martin Pec, Rony Pleši, Jan Stolín, Michael Strejček, were fellow students of mine at UMPRUM. At the time of the residency, I was studying in Kurt Gebauer's Studio of Sculpture (Ateliér veškerého sochařství) at VŠUP Prague.
Sea Memory was conceived and realized in Nice, France, as a site-specific land art and installation project exploring nature and human intervention, visibility and concealment, interior and exterior, and positive and negative space.
The work originated from the idea of “copying the land” while turning it inside out, bringing what is normally hidden, buried, or invisible into physical form. The stony beach became both material and conceptual ground. Through excavation, displacement, and reconstruction, the landscape was transformed into a series of human-scale sculptural forms, establishing a direct relationship between body, land, and space.
The project explored tensions between the found and the made, the natural and the constructed, presence and absence. The ocean and its natural forces were integral to the work, introducing movement, erosion, light, and impermanence, and allowing nature itself to participate in the transformation.
The labour-intensive process took days. After the completion of the beach installation, video work, editing, and post production, the sculptural forms were transported to the Gallery of the Ecole des Beaux Arts in Nice, where their displacement from the landscape created a second context for the work.
The project incorporated sculptural work, video and my poetry, with the video co-produced with Andrej Krátky. Ultimately, Sea Memory sought to reveal how what is hidden can become visible, absence can become presence, and the natural landscape can become a space for reflection on the human body, memory, and transformation. (https://villa-arson.fr/programmation/expositions/etudiants-de-la-vysoka-skola-de-prague/?utm_source=chatgpt.com)