Both the difficulties and the delights that are connected with the
reflections on black and white pictures by Markéta Othová come from the ambivalent relation to the very substance of photography. The artist takes a consistent record of reality, she neither creates artificial connections, nor arranges shots, however, at the same time she resigns from the role of the “certificate of presence” (Barthes). Ordinary sceneries or objects that she photographs do not rapresent themselves, they do not inform of their past, they are looked at as metaphors. More than to photography, the
freezing of reality, Othová referes to the creation of the world, which is, of course, the domain of visual arts. Her pictures speak about the infinite wandering and painful decisions what to keep and what to put aside during the journey in order to be able to continue. The artist looks especially
carefully and with a certain amount of obsession she models every shot. Othová increases the tension, which originates due to this method, by arranging photographs into series. Within the series the intimate
architecture of individual pictures transforms into mimetic signs, stories about the search for the meaning of their existence. Photographs of Markéta Othová seem to be lonely, lost in the flow of vivid visual
perceptions, and still they rouse the feeling of unity and almost a physical nearness. We look at them, we think about them and suddenly we
discover that they have become a part of our memories.
— Michal Kolecek

Selected solo exhibitions: 2003: Jiri Svestka, Prague; 2001: Nicolas Krupp, Basel; 2000: Kunsthalle, Basel; 1998: National Gallery/ Veletrzni Palace, Prague; Institute of Contemporary Art, Dunaújváros, Hungary; 1997: Alain Gutharc, Paris.
Selected group exhibitions: 2003: Balkan Consulat, <rotor>, Graz, Austria; 2002: Festival of Contemporary Art, Ljubljana; Kleine Kleinigkeit, Kunsthalle, Basel; 2001: ICING, Institute of Contemporary Art, Dunaújváros, Hungary; 2000: Examining Territories, Plan B Arts Center, Santa Fé; Bohemian Birds, Kunst Haus, Dresden; Melancholy, Moravian, Brno, Czech Republic; 1999: Brother of Brother, V. Löffler Museum, Kosice, Slovakia; Carnegie International 1999/2000, Carnegie Museum of Art, Pittsburg.