•  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
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Current Exhibition

SELECTED WORKS BY Tereza Zelenkova

Cometes
Tereza Zelenkova
Cometes

2012

Framed silver gelatin print

127 x 101.6 cm
To make photography startling in a culture saturated with the photographic image is Tereza Zelenkova’s - as every photographer’s - particular challenge. Her approach is to draw from the estrangement of image and subject familiar from Surrealist photography: to dismantle the photograph’s claims to truth, to complicate the act of looking. Take her photograph Cometes (its title referring to the Greek term meaning both ‘comet’ and ‘long-haired’): the stark flash associated with paparazzi photography, its hard light a way to render every blemish visible in the gloom of night, has been applied to an image of concealment, of invisibility.
Crocodiles
Tereza Zelenkova
Crocodiles

2012

Framed silver gelatin print

127 x 101.6 cm
Standing at the corner of a church in Prague, a girl runs her fingers through her very long hair, which nearly sweeps the ground. The hair takes on its own spectral life (the church architecture and implied graveyard adding supernatural resonances to the image); it might be an embrace between a human and a ghost. Zelenkova’s work Crocodiles turns the photograph against itself in a similar way. Taken on a huge chicken farm in the Czech Republic (the artist’s homeland), the image depicts crocodiles used as a cheap way of disposing of unsellable chickens. The image elides its context, though, filling the frame with the piled-up bodies of the animals, whose complex scaling creates a kind of swirling abstraction. The black and white film transforms the crusty skins of the creatures into dusty stone. The act of photography is, here, a kind of Medusa’s gaze: the world seems ancient, mythic, and troubling.

Text by Ben Street

Tereza Zelenkova's BIOGRAPHY

Tereza Zelenkova
Born in 1985, Ostrava, Czech Republic
Lives and works in London, UK



GROUP EXHIBITIONS


2012
Lianzhou Foto, Lianzhou, China.
Matt Roberts Salon Art Prize, Matt Roberts Arts, London, UK
Saatchi New Sensations, B1, London, UK
Indexes and Other Figures, Berlin, DE
RCA Show 2012, Royal College of Art, London, UK
Coal & Steel, Candid Arts Trust . London, UK
Black Thorns in The White Cube, Western Exhibitions, Chicago, US
Hijacked III, Quad, Derby, UK & Perth Institute of Contemporary Art, AU

2011
The Wonders of The Visible World, Northern Gallery for Contemporary Art, Sunderland, UK
How Looking Gets in the Way of Seeing, Twelve Around One Gallery, London, UK
Altitude +1000 Festival de Photographie de Montagne, Rossiniere, CH
Construct , Folkestone Triennial, UK
The Collector’s Guide to New Art Photography Vol. 2, Chelsea Museum of Art, New York, USA
Oblong Gallery Presents (with Jh Engstrom, Laura Hynd, Michael Grieve), London, UK
re: control, Oubliette at Shaftesbury Avenue, London, UK

2010
This Must be The Place, Jerwood Art Space, London, UK
Women in Art Photography U.K., Taaschen, London, UK
120 x120 Cover Exhibition, 66 Gallery, Prague, CZ