Eva Kot’átková. The Dream Machine is Asleep

Curated by Roberta Tenconi

Pirelli HangarBicocca

Eva Kot’átková

“The Dream Machine is Asleep” (2018) by Eva Kot’átkováPirelli HangarBicocca

The Dream Machine is Asleep

“The Dream Machine is Asleep” is
Eva Kot’átková’s (Prague, 1982) first
exhibition at an Italian art institution and presents a series of new works
created especially for the event together with already-known ones by the
artist, bringing together installations, sculptures, collages, and
performances. 

The Dream Machine is Asleep (2018) by Eva Kot’átkováPirelli HangarBicocca

The exhibition concept is based on the idea of the human body as a machine, an organism whose functioning requires servicing and moments of rest and regeneration. Within this view, the theme of sleep is of central importance, intended as a moment in which new visions and parallel worlds are created through dreams. 

The Dream Machine is Asleep (2018) by Eva Kot’átkováPirelli HangarBicocca

The Dream Machine is Asleep (2018) by Eva Kot’átkováPirelli HangarBicocca

Stomach of the World (2017) by Eva Kot’átkováPirelli HangarBicocca

Composed of large-scale installations and sculptures, the exhibition narrative starts with the 2017 work entitled “Stomach of the World”, which leads visitors into Kot’átková’s imagination through a long, labyrinthine corridor. 

Head no.2: Busy Head (Hearing voices hallucination) (2018) by Eva Kot’átkováPirelli HangarBicocca

Some of the works serve as stage props, which can be activated by performers at certain times of day, while others are devised to host different activities involving the visitors.

Feeding the Cleaning Machine with what Others Didn’t Finish (2018) by Eva Kot’átkováPirelli HangarBicocca

Diary no.2 (I-Animal) (2018) by Eva Kot’átkováPirelli HangarBicocca

Cutting the Puppeteer’s Strings with Paper Teeth (Brief History of Daydreaming and String Control) (2018) by Eva Kot’átkováPirelli HangarBicocca

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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