Bratislava City Gallery ­– Allowance organisation of the City of Bratislava, capital of the Slovak Republic

Vladimír Ossif | Galéria mesta Bratislavy | Allowance organisation of the City of Bratislava, capital of the Slovak Republic


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Another original of Tilgner´s fountain Triton and Nymph, situated at the courtyard of Mirbach Palace, can be seen in the Volksgarten in Vienna.


Vladimír Ossif

Mirbach Palace (show Contact)
19. 10. 2006 - 26. 11. 2006
Curator: Zora Rusinová

Vladimír Ossif: Untitled

In the context of contemporary painting in Slovakia, the elemental and playful geometry of Vladimír Ossif has a unique and specific place. Although the author originally belongs to the generation of the so called “New Painting” interested mainly in the revival of Expressionism, his way of painting after the half of the 80ties of the 20th century was developing outside Slovakia and it is connected more with the environment and tradition of French analytical painting.

The exhibition introduces a choice from his fruitful creation roughly from the year 2000 when Ossif begins to aim towards a new expression of sensibility. From the pictures disappears the texture rich surface and originally soft, pastel-like, in half- tones playful colours of the past period. Although he stays true to abstract geometry the compositions become looser, individual geometric segments unbind themselves from mutual connections and from being in layers. As a result the abstract signs are loosing their former vagueness. They do not debouch from depths as a blend of prints and traces anymore but their purity and readability becomes more intense in monumental space relations. Ossif also in these compositions is not scared from large space. With sovereignty he manages large fields of paintings “al prima” with a spontaneous, immediate painter’s gesture he draws with colour and leaves his shapes enough air and light so that his canvases and papers seem to have the lightness of an aquarelle. Elementary geometric shapes, mainly concentric circles and darts appearing isolated freely lost in space are added with gesture spots. If layering persists it does not have the character of a systematic denial of the under-layer anymore but more like accidental, fragmental interventions into the space. They are over-paintings on purpose, withheld and negated forms drown out with linear diagrams and vice versa. Often happens that something like governed by an entropic expansion blows up and scatters. In the morphology of the individual pictures predominates flatness and resonance of organic forms of invisible world, discs reminding of whirly cores of cells or colonies of bacteria under magnifying glass of a microscope. Micro-world becomes here Gulliver’s sizes and by means of shape analogies nears us to space distances.

The mentioned change concerns in the same way paintings on paper as well as large canvases created in a combined technique of acryl and oil. Ossif connects in this way exactness with playfulness, a rule with a dodge, delicate calligraphy with unscrupulous expansion of a stain. In both spheres; canvases and uncountable paintings on paper appear common motifs which mainly in the newest paintings evoke topographical or architectonical shape allusions. It is because more important are becoming always new connections among components, internal syntax of the coloured formulas. From this point of view are individual Ossif’s compositions by themselves an expression of fragmentation

of the unit they always introduce only a certain section, they indicate the picture can continue also behind the borders of the frame and it is only a section from the assumed continuity.

Ossif does not name his paintings because he does not want to bind them to any concrete content, on the contrary, he even tries so that their message would be open to the widest scale of interpretations so that the spectator while looking at them could freely create associations according to his own imaginative disposition. Also these most recent series of pictures document not only his devotion to the painting and its rules but also the creative discipline and persistent fight for authenticity of this kind of art also in the times of attractiveness and dominance of electronic media.




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Other exhibitions/actions

Pálffy Palace / Exhibition
Curator: Vladimír Kordoš, Marián Meško
21. 4. 2020 - 30. 8. 2020
Mirbach Palace / Exhibition
Author: Albín Brunovský
Curator: Ivan Jančár
12. 3. 2020 - 30. 8. 2020
Pálffy Palace / Exhibition
Authors: Matej Krén / Juraj Krén
Curators: Kristína Zaťko Jarošová, Ivan Jančár
26. 9. 2019 - 31. 5. 2020

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Pohľad z hradu Starhemberg
Author: Moritz Saint Genois
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