Klára Hosnedlová pursues a practice of framing the gendered space and the sexual sphere of design. Klára Hosnedlová’s work explores historical sentiments as they crystallise in modern and contemporary design and architecture. Her sculptures and environments are indebted to Eastern-European histories and collective mythologies. Hosnedlová’s installations represent her findings from her experimental material reading. She raises questions of the assumed relationship between gender identity (and/or sexual orientation) and allegedly “feminine” architectural forms. Hosnedlová carefully politicises decoration, allowing the viewer to note the symbolic importance of ornament and history beyond its aesthetic form. Hosnedlová as an artist frequently uses time travel as a method of collecting insignia for her works; She uses found materials in a subtle poetic irony that wraps her subjects, the readymades, the embroideries-paintings and the construction material in a palimpsest of textures and memories. The artist acts as an interior-visceral-decorator that carefully retrieves and reassembles subconscious fragments and memory debris.

For the Athens Biennale, Hosnedlová presents an installation that builds upon these themes, as well as explores natural processes that derive from the usage of new materials. Are her decorative ornaments and fluid crystal forms symbols of a decaying, melting or fleeting nostalgic past? The story implied in this relief remains obscure and is pressing us to solve its visual riddle.

Untitled (from the series Nest), 2021
Mixed media (metal frame, embroideries in epoxy frames, epoxy objects, panels from artificial stone, glass), 294 x 3 x 193 cm
Courtesy of hunt 6astner, Prague, Czech Republic
With the support of Ministry of Culture of Czech Republic

Untitled (from the series Nest), 2020
Hand blown glass, stainless steel, light bulb, 15 x 25 x 133 cm
Courtesy of the artist; Kraupa-Tuskany Zeidler, Berlin
With the support of Ministry of Culture of Czech Republic