Marketa Kinterova

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Czech Republic (citizenship) °1981
research interests: public space, performative walk, privately owned public space (POPS), participation, psychogeography
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Markéta Kinterová is artist and photographer living in Prague, Czech Republic. She focuses on conceptual photography, oftentimes overlapping into public space. The author’s book What You See Is What You Think was published as the artistic part of the doctoral thesis under the title Oppositional Reading of Public Space, which she defended at the Academy of Arts, Architecture and Design in Prague in 2019.  She studied photography at the Faculty of Art and Design at the Jan Evangelista Purkyně University in Ústí nad Labem, Czech Republic.

She is the editor-in-chief of the Fotograf magazine and the director of the Fotograf 07. z.s., platform covers Fotograf magazine, Fotograf Gallery and Fotograf Festival. She is the head of the Documentary Photography Studio at the Film and TV School of the Academy of Performing Arts in Prague (FAMU) since 2016. She has taken part in several independent and group exhibitions in institutions as Meet Factory, Prague, Czech Republic, Museum auf Abruf – MUSA, Wien, Austria, Month of Photography Festival, Krakow, Poland, Fotobiennale, Moscow, Russia and many others. She has been to certain artist esidencies as at Centro de la Imagen – FONCA, Mexico City of Rotor – Association for Contemporary Art, Graz, Austria. 

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research expositions

  • We Are Public Space: Bodies and Minds in Post-pandemic Cities (2023) author(s): Marketa Kinterova published in: Journal for Artistic Research
    The project aims to pay heightened attention to public spaces in cities on several levels. The first follows the trend of newly developed privately owned public spaces (known as POPS), which establish a precedent for how corporations and cities define public space and what they prioritize within it. A clear focus on people as consumers – rather than citizens – have several effects, including strict restrictions, the creation of societies of control (Deleuze 1992: 3), and various forms of often indirect exclusion of certain groups of inhabitants. The second level attempts to accentuate subjective experiences focused on our bodies and making them consciously present in relation to public space. Both layers are a significant component of the performative lecture walks, on the basis of which I introduce the results of interactions with the respondents in my case studies. Finally, I shall describe what cities looked like during the pandemic and consider whether these scenes might be a model for the future. Are we to expect further experiences of empty cities?
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