BASEL.- The movement inscribed into Markéta Othová’s works evokes an instinctive descent through the history of photography. Her point of departure has turned out to be the 1990s “archival turn”: beginning in 1994, the artist started to mine an extensive archive of her own snapshots, made primarily during trips abroad, putting together photographic installations of such a nature that the significance of the particular pictures was specified only by the syntax of the whole. Towards the end of the decade, Othová then shifted to the technique of temporal series, recorded sequentially – which put her close to the use of photography as we know it from 1970s Conceptual Art. And in her latest works, she is more focused than ever on the composition of particular images, now shot (in clear contrast to her previous cycles) exclusively in the lab environment of a photographer’s studio – so that, in her trajectory through the history of
