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Anna Zemánková is undoubtedly one of the internationally recognized representatives of art brut. Her imaginative intuitive paintings and drawings often bear floral characteristics or, in line with media artists, the reminiscent of the composition of insect bodies or stylized landscapes. Particularly in the 1970s, the she experimented with perforation or embroidery, and later also with new materials; various artificial fibres, fabric cut-outs, pasted or sewn elements of small jewellery. Very free expressive thread drawing has also been Daniela's means of expression for a long time. Mikulášková. Her specific work with material (gestural embroidery, slowness of expression) and her historically. contextualization (ornament, folklore, gender) are effectively connected with the landscape inspirations sources and an emphasis on meditative processuality. The title of Zemánková and Mikulášková's joint exhibition, Sentenze, combines a dreamlike fantasy looseness with a tension, a non-specific tension that drives the artist to new magical compositions, to the spouting of worlds in outlines that emerge just beneath the hand, the stitch, the line, the cut-out... And at the same time, in a combination of dream and tension, she reveals meaning. The Sentenze exhibition was the result of Daniela's intense encounter with Anna's work, when she spent several days in the studio/archive run by Zemánková's granddaughter Terezie. The meeting became the catalyst for of a new productive direction Daniela is taking. After a first phase of an overly descriptive connection to admired motifs, she began to use material and processes more freely; differently from her previous work. She likes she chooses donated material that already has a history - colour dullness, stains or the pattern of the fabric itself guides her to other embroidery techniques. "Then the hand sews itself. There is a record of the life of the fabric and the embroidery just brings the record back to life." She works with the curtain creating transparent layers that interact, intertwining. "I don't want anything from it, it will reveal itself later. I experience the freedom of having a goal in advance I don't set a goal. And at the same time, according to the principle of art brut, anyone can create in this way." Anna Zemánková naturally decorated the interior of the apartment she lived in with her works; she often renewed them, so that a visit became, in effect, a vernissage. In addition, in the 1960s she began to organize "real" apartment exhibitions. The boundary between interior furnishing and art exhibition is here analogous to the conflict between the artist's the artist's need for decorative ornamentation and the sophisticated reflection of modern art that we find in her work. The exhibition recalls this boundary with spatial accents - firstly, with Mikulášková's installation Eternity, Landscape of red stitches, maps, leather, tapestries, and a DIY "screen" by Anna Zemánková. A screen made up of double-sided pictures on small plywood is a home accessory, a decorative wall, the form of which we know from a contemporary photograph depicting one of the exhibitions in an apartment on Buzulucka Street in the 1970s. For our exhibition, we enthusiastically undertook the reconstruction of this unique installation, which, despite its popularity the popularity of Anna Zemánková's work at home and around the world, it has never been realized by any institution before. Petr Kovář and Šimon Kříž
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