Fotograf Magazine

Markéta Othová (1968) has never taken good “photos”, and nor has she cared to. Her intention has always been, and remains, quite the opposite. Through “photos” she tries to discover and make accessible a vision that will always remain purely her own. Her ultimate purpose is not the photographs themselves, their final stage of huge black and white prints contrasting with the original “low-fi” shooting on 35mm film that creates her trademark style – the final purpose is their installation, which inconspicuously but obstinately expands them into microcosms and microstories. In this way Othová constructs an entirely parallel photography, one that in fact has nothing in common with the logic of the current “creative photography”. It is radically and consistently based on the re-evaluation of Modernism and its relationship to the image, posing again the question of uniqueness as well as of the sharing of vision – perception and knowledge, perceiving and knowing.