![\"\"](\"https:\/\/www.bratislavadesignweek.sk\/wp-content\/uploads\/2026\/10\/vidrova-baba-2-scaled.jpeg\")
<\/a><\/figure>\n\n\n\n<\/a><\/figure>\n<\/figure>\n\n\n\n<\/p>\n\n\n\n
Ivica Vidrov\u00e1: Hares (2003), Doll (2007)\u00a0<\/strong><\/p>\n\n\n\n In 2026, the BADW Masters series will pay tribute to Ivica Vidrov\u00e1 (1943\u20132026). We will situate the artist\u2019s prominent role in Slovak ceramic art\u2014specifically through her clay beings and non-human entities\u2014within the context of the Universal Substrate exhibition. <\/p>\n\n\n\n Ivica Vidrov\u00e1 entered the Slovak art scene in the late 1960s. Along with other artists (such as Imrich Vanek, Jozef Su\u0161ienka, I\u013eja Hole\u0161ovsk\u00fd, Jaroslav Ko\u0161\u0161, Gabriela Lupt\u00e1kov\u00e1, and Anna Horv\u00e1thov\u00e1)\u2014all graduates of Otto Eckert\u2019s Porcelain and Ceramics Studio at the Academy of Arts, Architecture and Design in Prague\u2014she helped pioneer a new, anti-canonical stance in Slovak ceramic art from the 1960s onwards. From the very beginning, Vidrov\u00e1\u2019s artistic practice was defined by a conscious opposition to the conservative view of ceramics as a strictly utilitarian discipline. Focused experimentation was key to her work; while she initially explored ceramic painting, from the late 1980s she moved toward clearly challenging the status of clay as merely an ephemeral, auxiliary material. She discovered the sensitivity and vitality of clay through its haptic, material, structural, and process-oriented qualities. Her objects\u2014or vessels\u2014are both beings and things; Ivica Vidrov\u00e1 composes them as unsettling references to home, a civilized landscape, or urban space. These ceramic images might be seen as portraits of ancient geological ruptures, or as a form of archaeology in porcelain or fireclay. They are also traces that have not yet cooled, or wounds she heals with cobalt, gold, and touch. Ivica Vidrov\u00e1\u2019s habitats are inhabited by puppets that fade away through multiplication; within them, anti-monuments of bygone ceramic glory huddle together, while hares march through with utter irreverence. Above all, however, this is a space where Ivica Vidrov\u00e1 communicates her deeply ingrained relationship with clay. She has characterized her creative method as a collaboration with a living organism\u2014a participatory environment where the most significant moments unfold through the process itself. <\/p>\n\n\n\n Ivica Vidrov\u00e1 entered the Slovak art scene in the late 1960s, balancing her professional life between studio practice and teaching. She taught first in the ceramics department of the Secondary School of Applied Arts in Bratislava, and later served as the head of the Ceramics Studio at the Academy of Fine Arts and Design in Bratislava (1995\u20132009). She brought to the local scene the experience she had gained from various international university programs and ceramic symposiums across Europe and the United States. She was a driving force in the Central European ceramics scene\u2014in Slovakia, particularly as both an organizer and a participant in the International Ceramics Symposia in Lu\u010denec-Kalinovo.<\/p>\n\n\n\n V ed\u00edcii BADW Majstri si v roku 2026 pripomenieme Ivicu Vidrov\u00fa (1943-2026). Exponovan\u00fa rolu tejto umelkyne v slovenskej autorskej keramike zasad\u00edme prostredn\u00edctvom jej hlinen\u00fdch bytost\u00ed \u010di nie-\u013eudsk\u00fdch ent\u00edt do prostredia v\u00fdstavy Univerz\u00e1lny substr\u00e1t. Ivica Vidrov\u00e1 vstupovala na slovensk\u00fa v\u00fdtvarn\u00fa sc\u00e9nu koncom 60. rokom 20. storo\u010dia. Spolu s \u010fal\u0161\u00edmi umelcami a umelky\u0148ami (Imrich Vanek, Jozef Su\u0161ienka, I\u013eja Hole\u0161ovsk\u00fd, Jaroslav Ko\u0161\u0161, […]<\/p>\n","protected":false},"author":2,"featured_media":18780,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[921,856,846],"tags":[],"class_list":["post-18776","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-edicia-majstri-2026","category-exhibitions","category-news-news"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.bratislavadesignweek.sk\/en\/wp-json\/wp\/v2\/posts\/18776","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.bratislavadesignweek.sk\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.bratislavadesignweek.sk\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.bratislavadesignweek.sk\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bratislavadesignweek.sk\/en\/wp-json\/wp\/v2\/comments?post=18776"}],"version-history":[{"count":1,"href":"https:\/\/www.bratislavadesignweek.sk\/en\/wp-json\/wp\/v2\/posts\/18776\/revisions"}],"predecessor-version":[{"id":18783,"href":"https:\/\/www.bratislavadesignweek.sk\/en\/wp-json\/wp\/v2\/posts\/18776\/revisions\/18783"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.bratislavadesignweek.sk\/en\/wp-json\/wp\/v2\/media\/18780"}],"wp:attachment":[{"href":"https:\/\/www.bratislavadesignweek.sk\/en\/wp-json\/wp\/v2\/media?parent=18776"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.bratislavadesignweek.sk\/en\/wp-json\/wp\/v2\/categories?post=18776"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.bratislavadesignweek.sk\/en\/wp-json\/wp\/v2\/tags?post=18776"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}<\/a><\/figure>\n<\/figure>","protected":false},"excerpt":{"rendered":"