Milota Havránková.

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Milota Havránková.

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intro

milota is considered to be an exceptional phenomenon in Slovak and Czech photography. She experiments, breaks traditions, transforms and modernises her personal style. She exploits new technologies and possibilities, transcending photography into architecture, painting and fashion design. She has taught young people for over thirty years, and shaped the “Slovak new wave”, the generation of successful photographers who fundamentally influence the Czech photographic scene. Her creative approach significantly influenced the Slovak art scene, the younger generation in particular.

contact: info@milotahavrankova.com

1945
Born 7 August 1945 Košice, Slovakia
1960–64
School of Applied Arts, Bratislava
1966–71
Academy of Performing Arts, Prague (Prof. Ján Šmok)
1963–65
Photojournalist – Film Studios Koliba, Bratislava
1971
Freelance artist
1972–77
School of Applied Arts, Bratislava, teacher of art photography
1977–91
Freelance artist
1990
Co-founder of GALÉRIA X, Bratislava
1991
Academy of Fine Arts, Bratislava, co-founder of the Department of Art Photography, Head of the Studio of Art Photography, member of the Academic Senate
1994
Film School of the Academy of Performing Arts, Prague, teacher at the Department of Photography
1995
Named the Associate Professor of Photography, Academy of Performing Arts, Prague
2002
Head of the Department of Photography and New Media, Academy of Fine Arts, Bratislava, member of the Academic Senate of the Academy of Fine Arts
2006
Named the Professor of Creative Art by the President of Slovakia, Bratislava
2007–2011
Director and curator of PF 01 Gallery of the Student Loan Fund, Bratislava
2012 - 2013
Professor at the Department of Photography, Film Academy of Perfoming Arts in Prague, Czech Republic
2013
Head of Studio 'Medium of Photography', Academy of Arts, Banska Bystrica, Slovakia

What are the priorities of your students compared with yours?
I do not see a difference … I often feel like instructing them and expressing my opinion. But to grasp the value of things, they have to experience everything by themselves. It is impossible to implant in them a strange experience which they will simply adopt. They have to work in the way they feel, want and need. When I meet the students for the first time, I discourage them by saying: “Why have you come here? Why didn’t you find something more practical?” This urges them to defend their decision. They have to learn to live in such a way that they see some sense in everything, not to imitate something. They need to consider their priorities.
Nowadays everyone can take a digital camera and feel like a photographer. Do you rather teach the students at the Academy to reflect on life?
Photography is a psychological matter. It is not about taking a camera and making it immortal. It is about philosophy and knowledge. When a person has gone through something and grasps it, h begins to look through the lenses with different eyes. Suddenly you can feel this enormously from the photograph.
Photography is still a young medium in Slovakia. How do you evaluate its development – where has Slovak photography reached?
Slovak photography has achieved considerable progress, it has yielded good results. An independent department of photography was set up at the Academy of Fine Arts, we have many successful graduates from Prague institutes of higher education, but I have the feeling that it has not been fully appreciated. Perhaps it is because today every person can take photographs of something and immediately express a superficial opinion about which he/she is firmly convinced. There is a wide range of amateur photographers. A strong cliché has developed in photography, and people defend it. I do not know if art historians will ever be able to classify and differentiate everything.
Do you not attempt to do it?
When I held the camera in my hands for the first time, I immediately grasped the power of this medium, but I have never tried to classify photographs. I have always perceived photography as an intersection through the whole of art. Today, also sculptors use photography, and their own craft somewhat disappears. It is a very fast medium and they seem to have come under the influence of the inner feeling that they quickly need to express and convey something urgent. But I think it's only a kind of euphoria because they have to return and people will appreciate the craft again.

1990
Bratislava (Slovakia), GALÉRIA X, collection of photographic fashion designs, fashion show
1992
Kristiansand (Norway), GALLERY 101, collection of photographic fashion designs
Prague (Czech Republic ), collection of photographic fashion designs and fashion show at WORLD PRESS PHOTO INTERNATIONAL
Amberg (Germany), fashion show, private gallery
1993
Fashion show at the exhibition of French fashion photography – EAST WIND
Brno (Czech Republic), Fashion show at International Fashion Fair STYL Brno, design and production of uniforms for ZANUSSI hostesses
1994
Klagenfurt (Austria), fashion show
Prague (Czech Republic), gallery MLADÁ FRONTA, fashion show
1995
Lublin (Poland), GALÉRIA TEATRU, fashion show
Bratislava (Slovakia), hotel DANUBE, fashion show
Prague (Czech Republic), KOMORNÁ GALÉRIA FOTOGRAFIE JOZEFA SUDKA, opening of permanent exhibition of photographic design
1996
Prague (Czech Republic), GALÉRIE ŘÁSNOVKA, fashion show
1997
Brno (Czech Republic), international fashion fair STYL, fashion show
Prague (Czech Republic), DIGITAL FASHION – INTERCAMERA
Bratislava (Slovakia), MESIAC FOTOGRAFIE, hotel Danube, fashion show and exhibition of graphics
1998
Bratislava (Slovakia), hotel Danube, fashion show and exhibition OTVORENÝ ATELIÉR
Prague (Czech Republic), Cultural Summer BERTRÁNKA, fashion show
1999
Prague (Czech Republic), GALÉRIA ČIERNA LABUŤ, fashion show
Prague (ČR), OBECNÝ DOM, fashion show
2000
Bratislava (Slovakia), hotel DANUBE, fashion show
2005
Bratislava (Slovakia), hotel DANUBE, fashion show with students