Abstract
The monograph Marie Filippovová: The World as a Point and a Line presents the lifelong work of this exceptional Brno-based artist. The selection of her prints and drawings, including her books and installations is contextualised by three texts.
In the introductory text, Terezie Petiškové, the Brno House of Arts Director, touches upon the genesis of this publication. Marie Filippovová is associated with Brno's art hall not only through her place of residence but also thanks to the several significant exhibitions that she has had put on in the establishment's various spaces over the years.
They include, for example, the exhibition project Grey Gold. Czech and Slovak Female Artists over 65.
Held at the House of Arts in 2014, the project presented the works of female artists who are active in old age, including Marie Filippovová. Simultaneously, the introductory text offers an openly made comparison between the established ways in which the local scene in Brno perceives Marie Filippovová and individual personal encounters with the artist as experienced by Terezie Petišková and the other authors of this monograph.
In her text From the Figure to the Point and Back. Not Just about Material Representation and the Relationship with Literature in the Works of Marie Filippovová, Vendula Fremlová is looking for the interfaces between the print cycles of the '60s, '70s and partially the '80s, and between the prosaic and poetic texts of various provenance, with which or alongside which her prints coexist.
Vendula Fremlová locates Filippovová's artwork and interest in literature within the context of the artist's experiences of the period, life and art. Her early prints are the starting point and the ground plan for her subsequent reflections on working with the human figure from the '80s onwards.
Material representation in the work of Marie Filippovová evolves towards a repetition of elementary drawing elements, primarily of points. At the same time, the artist is able to come back to material representation in different forms.
This span of the formal approaches used points to her broad and unrestrained thinking in figures. In her text Point - Drawing / Touch - Body/ Form - Anti-form, Anna Vartecká situates the artist's work within the domestic and international context.
Drawing on Jindřich Chalupecký's reflections about the mutual touch of the body and the world in the work of the important sculptor Eva Kmentová, she applies this simile to Marie Filippovová's work from the turn of the millennium to the present day. Within the international context, she establishes a link between the artist's work, primarily her series of perforated drawings Open Project, and the term "anti-form", which is used to describe the work of Eva Hesse.
The text views the diversity of art forms as articulating a concept that emphasises the equality of various sign systems within the context of fine art. The performativity of artworks is an integral part.
The monograph contains the artist's biography and a list of exhibitions.