cusp.talk : Tereza Cervenova
Carlisle Lane, Waterloo, London; July 2020.
[For Sama]
[为了Sama]
cusp. : [For Sama]
[为了Sama]
Please introduce yourself first ～ (For example, where do you live, your educational background, when did you become interested in art, or any content)
可以先简单介绍一下自己吗：）你现在居住在哪里，你的教育背景，从什么时间点开始对图像产生了兴趣，同时也可以是任何想说的。
Tereza Cervenova：
I was born in (then Czecho) Slovakia to two young artists two years after the fall of the Iron Curtain between the West and the former Soviet Block.
I have grown up between the capital city of Bratislava and the countryside of the north of Slovakia where my father was born and where the generation of my grandmother still wears traditional folklore clothing, and the area near the Czech border where my mother’s father built a cottage, which became our summer wonderland. I was the oldest child in the group and had shown early signs of directorial potential during the summer holidays when I used to organise carnivals, Olympic games and theatre performances with and for the children in our community.
Then when I was 14 I was scouted on the street by a modelling agent and my life has taken a huge turn. For the following 6 years I have been dividing my time between my academic studies and fashion catwalks, leaving not much time for anything else. My priorities have shifted to focusing on my future, where I set myself a goal of earning enough money through fashion to be able to fund myself going to a good university abroad. Already on my very first trip I tasted that smell and flavour of the elsewhere and sensed I belong there more than here.
Everyone in my immediate family is artistic and the creativity also seeps through the older generations so my interest in art has been there ever since I can remember. But perhaps because both my parents understood how hard being an artist can be, they were a bit concerned about my choice to study art at first. But here I am – still pursuing a dream that I feel has chosen me as much as I have chosen it.
在西方和前苏联街区之间的铁幕倒下两年后，我出生在两位年轻的艺术家手中，那是当时的Czecho现在的斯洛伐克。
我在首都布拉迪斯拉发和斯洛伐克北部的乡村之间长大，我父亲在那里出生，我祖母那一代人仍然穿着传统的民俗服装，在靠近捷克边境的地区，我母亲的父亲建造了一座小屋，成为我们的夏季仙境。我是这个团体中年龄最大的孩子，在暑假期间，我曾经和我们社区的孩子们一起并为他们组织过嘉年华会、奥林匹克运动会和戏剧表演，这些活动像早期的信号让我觉得我适合从事和导演有关的事情。
然后在我14岁的时候，我在街上被一个模特经纪人发现了，我的生活发生了巨大的转变。在接下来的6年里，我一直在学术研究和时尚T台之间分配时间，没有留下多少时间做其他事情。我的优先事项已经转移到关注我的未来，我为自己设定的目标是通过时尚赚取足够的钱，以便能够资助自己去国外的一所好大学。在我的第一次旅行中，我就已经尝到了其他地方的气味和味道，感觉到我属于那里而不是这里。
我的直系亲属中的每个人都有艺术细胞，而且创造力也渗透到老一辈中，所以我对艺术的兴趣从我有记忆以来就一直存在。但是，也许是因为我的父母都了解作为一个艺术家有多难，他们一开始对我选择学习艺术有点担心。但现在我在这里-仍然在追求一个梦想，我觉得这个梦想选择了我，就像我选择了它一样。
Dlhá nad Oravou, Slovakia; August 2020.
[healing the ear with a wild lily ointment]
[用野百合膏治疗耳朵]
[用野百合膏治疗耳朵]
cusp. :
How would you describe your creation? (For example, commonly used media and techniques, focus on themes, visual style, etc.)
你会怎样讲述自己的创作：）
Tereza Cervenova：
The word that comes to mind is responsive. I don’t make work without the presence of others (whether it is physical or symbolic), however the process requires a tremendous amount of solitude. My work is autobiographical, yet I don’t want to make work just about or for myself. My work features my loved ones, yet it is important to me that I protect the secrets and intimacy that belong between us only.
I work very slowly, sometimes too slowly when the circumstances of life interfere with my ability to see clearly and move freely. When what I am creating is too raw, too personal, and too close to me, it can stop me from being able to make anything with it, to share it. There is this space between the moment the event happens, and the photograph is created, and the moment the decision is taken that this is the frame that carries the energy I want to share with others. But in between those two (or three, or four, or five…) moments I keep becoming a different person. I am looking at that moment in time each time differently, seeing it anew through different eyes, feeling it through different heart, conceptualising it through different mind.
There is me in the world with others, and sometimes there is a camera. Sometimes there is just a memory, sometimes there is a pencil or my phone, or dried flowers and leaves between the pages of my book. Sometimes there is a conversation, there are screenshots of films on my desktop, there are words in books underlined by pencil or rewritten in a notebook or on posted notes, darkroom instructions on the edges of test prints, light leaks on negative, and crinkled laser prints blue tagged to my walls… There are exposure on my films that I have never paid attention to, but that might one day become very important pieces of the puzzle of my practice, as well as there are kinked handprints in boxes that I can’t force myself to discard. This chaos is all part of me at this very moment. It makes up the entirety of me, yet I hope one day there will be more order in it. It feels foggy right now and I really feel that something is ready inside me, something that is trying to come out through the layers of feelings and all this stuff, something that I might have tried to forget, something made of frighteningly fragile beautiful precious memories.
我想到的一个词是相互响应。我不会在没有他人在场的情况下进行创作（无论是物理的还是象征性的），但同样这个过程需要大量的孤独。我的作品是自传性的，但我不想只为自己做作品。我的作品以我的爱人为主角，但对我来说，重要的是我要保护只属于我们之间的秘密和亲密关系。
我工作得很慢，有时太慢，因为生活的环境干扰了我看清楚和自由行动的能力。当我正在创造的东西太原始、太个人化、太接近我时，它可以阻止我用它做任何事情，分享它。在事件发生和照片创作的那一刻，以及决定这是一个承载着我想与他人分享的能量的框架的那一刻之间，存在着这样的空间。但在这两个（或三个，或四个，或五个......）时刻之间，我不断成为一个不同的人。我每次都以不同的方式看待那个时刻，通过不同的眼睛重新看到它，通过不同的心去感受它，通过不同的头脑去构思它。
在这个世界上，我和其他人在一起，有时还有一台相机。有时只有一段记忆，有时有一支铅笔或我的手机，或我书页间的干花和树叶。有时是一段对话，我的桌面上有电影的截图，书中有铅笔划的字，或在笔记本上重写的字，或贴在纸条上的字，试印件边缘的暗房说明，底片上的漏光，以及贴在墙上的皱巴巴的激光打印件......我的胶片上有我从未注意过的曝光，但有一天可能成为我实践中非常重要的一块拼图，还有盒子里有我无法强迫自己丢弃的扭结的手印。这些混乱在此刻都是我的一部分。它构成了我的全部，然而我希望有一天其中会有更多的秩序。现在感觉雾蒙蒙的，我真的感觉到有什么东西在我体内准备好了，有什么东西正试图穿过层层叠叠的感情和所有这些东西出来，有什么东西我可能已经试图忘记，有什么东西是由可怕的脆弱的美丽的珍贵记忆组成的。
Leigh on Sea, Essex; July 2020.
cusp. :
What cultural/factors have influenced your creation? (e.g. literature, movies, music, games, architecture, etc.)
可以告诉大家你创作受到哪些文化和因素的影响吗？
Tereza Cervenova：
Biggest influence on my work is the people I am surrounded by and the environment I am part of, both on the micro as well as macro levels. The intimate conditions of one’s home and day-to-day life as well as sociopolitical conditions, which I live and function within as well as contribute to.
I have always been interested in history, but since I started studying at the Royal College of Art in London in 2016 I became much more aware of the complexities and nuances of various histories and the point of view present in writing them. I have recently listened to a podcast where the idea of there being just one truth has differed in the point of view of people from different cultural backgrounds. It struck me then, and I remembered it now, thinking here about history. I believe history is personal. Thus I believe there are as many histories as there are souls.
My own history has had a huge impact on the way I create work, what I create work about and how I live my life in general. The fact that I started traveling on my own since I was 14 years olds, the way how I see and feel about myself has been influenced hugely because of my self-worth was reduced to my physical appearance during my formative years, my early twenties when I moved to London and tried to find the ground under my feet and redefine where that worth has its foundations, perhaps even try to find it anew as it seemed to get lost. What home and love and care mean to me, what are borders of one’s own and of one’s identity…
对我的工作影响最大的是我身边的人和我所处的环境，包括微观和宏观层面。一个人的家庭和日常生活的亲密条件，以及社会政治条件，我在其中生活和运作，并对其作出贡献。
我一直对历史感兴趣，但自从2016年我开始在伦敦皇家艺术学院学习后，我更加意识到各种历史的复杂性和细微差别，以及写这些历史时存在的观点。我最近听了一个播客，其中关于只有一个真理的想法在不同文化背景的人的观点中也有不同。当时我就被打动了，现在想起来了，在这里思考历史问题。我相信历史是个人的。因此，我也相信有多少个灵魂就有多少个历史。
我自己的历史对我创作的方式、我创作的内容以及我一般的生活方式产生了巨大影响。事实上，我从14岁起就开始自己旅行，我对自己的看法和感觉受到了巨大的影响，因为我的自我价值在我成长的岁月里被简化为我的身体外表，我在20岁出头的时候搬到了伦敦，并试图找到我脚下的土地，重新定义这种价值的基础，也许甚至试图重新找到它，因为它似乎已经丢失了。家、爱和关怀对我意味着什么，什么是一个人的边界和一个人的身份......
Flints, Kent; summer 2014.
cusp. : Can you introduce one or two of your own works/projects in detail?
能否详细介绍自己的 1、2 件作品/项目?
Tereza Cervenova：
With and For (2020-2021) is a moving image piece in conversation with photographs. The moving image was filmed on 8mm film in the summer of 2020 when my life was changing dramatically. I was closing chapters, re-entering territories, re-establishing what home means while traversing between central & west London and Britain & Slovakia. In this silent wordless work, I attempted to speak honestly, honour the memories that I lived and shy away from the painful and the ugly. I was drawn to the simple moments, mundane tasks, joyful gestures, views of the urban and the nature, eyes, smiles, hands and follow the moves of others. It features quite a few animals - the dog with two differently coloured eyes, horses with differently coloured coats, as well as two wasps, temporarily captured in the cages made of water glass.
With and For（2020-2021）是一个与照片对话的动态影像作品。移动影像是在2020年夏天用8毫米胶片拍摄的，当时我的生活正在发生巨大的变化。我在伦敦中部和西部以及英国和斯洛伐克之间穿梭时，正在结束一些章节，重新进入一些领域，重新确立家的含义。在这幅无声无息的作品中，我试图诚实地说话，纪念我所珍视的记忆，庆祝我深爱的人，并回避痛苦和丑陋。我被那些简单的时刻、平凡的工作、快乐的姿态、城市和自然的景色、我亲爱的人的眼睛、笑容和手所吸引。巧合的是，作品中出现了不少动物-有两只不同颜色眼睛的狗，有不同颜色外套的马，以及两只黄蜂。它们被暂时捕获在玻璃制成的笼子里。
157 Winns Avenue, Walthamstow, London; April 2021.
cusp. :
Can you introduce your life and creative state? What are your special work habits? (It can include inspiration collection, daily work habits, the process from inspiration to realization, etc.)
可以讲述一下你的生活和创作状态?
Tereza Cervenova：
My life is a flow without much of a structure, however much I am striving for it every day. On one hand the freedom of an independent life, on the other the bind of the worry how long can I sustain it and when is the next influx of work and sustenance coming. It is now more than half my life ago when I first left Slovakia and understood that my calling is elsewhere. I didn’t know then where or what it will be, but it was the first step that has led me to where I am right now. Do I feel I have found that place I belong to? I am not sure yet. But I have found what I want to do and where I want my purpose to take me.
A lot has happened in my life that I tried to hide for a long time, that I swept under the carpet, for which I felt embarrassed and inadequate. So a constant reminder for my personal as well as working life is to try and keep my mind clear and be kind to myself. Much of my work deals with our emotions, personal relationships, social environment and its impact on our bodies and souls, yet I still struggle sometimes to recognise (and excuse) when my own one is not functioning well and I struggle to show up for my art.
我的生活是一种流动，没有太多的结构，无论我每天如何努力争取。一方面是独立生活的自由，另一方面是担心我能维持多久，下一次工作和生计的涌入会是什么时候。现在，当我第一次离开斯洛伐克并明白我的使命在其他地方时，已经过去了一半多的时间。我当时不知道会在哪里，也不知道会是什么，但这是带领我走到现在的第一步。我是否觉得我已经找到了属于我的那个地方？我还不确定。但我已经找到了我想做的事情，以及我想让我的目标带我去的地方。
在我的生活中，发生了很多我长期以来试图隐藏的事情，我把它们扫到了地毯下面，为此我感到尴尬和不足。因此，对我的个人生活和工作生活的一个持续提醒是，努力保持头脑清醒，善待自己。我的大部分作品涉及我们的情绪、个人关系、社会环境及其对我们的身体和灵魂的影响，但我有时仍然努力认识到（和原谅）我自己的一个功能不健全，我努力为我的艺术展示。
Helsinki, Finland; early December 2017.
cusp. :
What are your daily hobbies?
你每天的习惯是什么？
Tereza Cervenova：
I used to be questioned whether I don’t have any hobbies other than photography… I found the question to be quite hostile and it always made my brain stop. Why, I asked myself, if I love photography, should I not enjoy it as my hobby as well as my profession? Since then a lot of time has passed and my relationship to photography matured in me too. I would never call it my hobby. It is part of me, and even though at times it is incredibly enjoyable – it is not something I can pick up and simply do to pass the time. It works in alignment with my intuition, with my vision, with my heart.
The pandemic has changed my daily routines like for most people. I have started baking my own sourdough bread, which I absolutely love. I have started reading more books; my bedside table is stacked up with poetry, essays, books for the mind and body, novels. My home is filled with plants so I look after those daily too. I love swimming and recently I have picked up a wish to start moving my body more intentionally. When it stopped being solely about exercising and more about doing something with the intention of deepening the relationship between my mind and my body it has made a huge impact on how I feel.
我曾经被质疑，除了摄影之外，我是否没有任何爱好......我发现这个问题相当有敌意，尤其是它来自我身边的人，它总是让我的大脑停止运转。我问自己，如果我喜欢摄影，为什么我不应该把它作为我的业余爱好和职业来享受？从那时起，很多时间过去了，我与摄影的关系在我身上也成熟了。我绝不会把它称为我的爱好。它是我的一部分，尽管有时它是令人难以置信的享受-它不是我可以拿起和简单地打发时间的东西。它与我的直觉、我的愿景和我的心保持一致。
像大多数人一样，这场大流行病改变了我的日常工作。我已经开始自己烘烤酸面包，我非常喜欢。我开始读更多的书；我的床头柜上堆满了诗歌、散文、身心书籍和小说。我的家里种满了植物，所以我也每天照顾这些植物。我喜欢游泳，最近我开始希望更有意地移动我的身体。当它不再仅仅是为了锻炼身体，而是为了做一些旨在加深我的思想和身体之间关系的事情时，它对我的感觉产生了巨大的影响。
1 Carlisle Lane, Waterloo, London; May 2019.
[kitchen]
[厨房]
[kitchen]
[厨房]
cusp. :
What is the current concern and thinking?
最近每天思考和关心的问题是什么?
Tereza Cervenova：
I have been thinking a lot about how does one recover from something that completely shakes (and breaks) their world. In the aftermath of the pandemic, it is something that a lot of people are surely thinking about and feeling within. I have been thinking about where does fatigue come from and how is it taken care of by the collective us in society? What counts as productive and valuable, how does a freelance artist make a living and move in the world feeling worthy if they don’t make work that is monetarily reciprocated?
I have also been thinking deeply and extensively about love and relational bonds, about family, respect and about boundaries. I still remember one my first lectures at the Royal College of Art where Dr Chantal Faust spoke about difference between borders and boundaries and their respective porosities. She showed us The Green Line by artist Francis Alys where he performed a walk with a leaking can of green paint by tracing a line following the portion of the ‘Green Line’ that runs through the municipality of Jerusalem. One of the slides during Chantal’s lecture was a quote by Alys, which resonates strongly with me to this day:
Sometimes doing something poetic can become political
and sometimes doing something political can become poetic.
It left a strong imprint on me and everything else that followed. During my time at the RCA (2016-2018) my work dealt with a very timely political topic in Europe – Brexit. June, the resulting autobiographical body of work, is not about Brexit as such, but about the impact the vote has had on young individuals, me including, on our psyche, feelings of belonging, and access to power to have a say on how things can change.
The chapter that came after – With And For – which is still not finished as I haven’t managed to process and embrace it honestly and thoroughly yet, deals much more with the first part of Alys’s quote - when something personal and poetic becomes political in the unfolding process of being. How relating to one another is political, especially when it is bonding different life experiences, cultures and points of view.
我一直在想，一个人如何从完全震撼和破坏他们世界的事情中恢复过来。在大流行病之后，这是很多人肯定在思考和感受的事情。我一直在思考，疲劳从何而来，社会上的我们又是如何照顾到它的？什么才是有生产力和有价值的，如果一个自由艺术家不做有金钱回报的工作，他们如何在这个世界上谋生并感到有价值？
我也一直在深入和广泛地思考爱和关系的纽带，关于家庭、尊重和界限的问题。我还记得我在皇家艺术学院的第一次讲座，Chantal Faust博士谈到了边界和界限的区别以及它们各自的缺陷。她向我们展示了艺术家Francis Alys的《绿线》The Green Line，他用一罐漏出的绿色颜料沿着贯穿耶路撒冷市的 "绿线 "部分描画了一条线。在尚塔尔的讲座中，有一张幻灯片是他的一句话，这句话至今仍让我产生强烈的共鸣。
有时做一些诗意的事情可以成为政治，有时做一些政治性的事情也会变得有诗意。
这句话给我和后来的一切留下了强烈的印记。在RCA学习期间（2016-2018），我的作品涉及到欧洲一个非常及时的政治话题-Europe – Brexit. June，由此产生的自传体作品，不是关于英国脱欧本身，而是关于投票对年轻人的影响，包括我在内，以及我们的心理、归属感、获得权力的说法和事情如何改变。
之后的一章-With And For-还没有完成，因为我还没有设法诚实和彻底地面对和接受它，它更多地涉及Alys’s第一部分话-当一些个人和诗意的东西在存在的过程中变成政治。爱是如何令人难以置信地具有政治性，特别是当它将不同的生活经验、文化和观点结合在一起时。
On board of train to Leigh On Sea, UK; July 2020.
cusp. :Can you talk about favorite artists and favorite books?
可以讲讲你喜欢的艺术家和喜欢的读物吗？
Tereza Cervenova：
I feel these are always changing even if there are some core works and artists that have laid the foundations of my own cultural literacy. Books by Milan Kundera (The Unbearable Lightness of Being, Immortality, Life Is Elsewhere) and Olivia Laign (The Lonely City, Funny Weather, Everybody) are ones I return to often. James Baldwin’s Another Country has stayed with me ever since I read it for the first time.
I have always been most powerfully inspired by literature, maybe because I view photographs as pieces of language – words – making up the whole of a story. Maybe that’s why I love the film Arrival by Denis Villenueve so much. It is based on a short story by Ted Chiang called “Story of Your Life”. The immensity of language, which in that story is the main character for me as well as the stage and the in between space at the same time. The grasp of the language allows time travel of sorts and highlights the need for (and the power of) sheer acceptance of life as it comes to us.
Films by Andrei Tarkovsky (Nostalgia, Stalker, The Sacrifice) and Krzysztof Kieslowski (The Three Colours Trilogy, The Double Life of Veronica, Dekalog) have been some of the ones I haven’t revisited in a long time but that are always there welcoming me with their sensitivity, story-telling poetry and incredible cinematography. Intimate raw photographs of Nan Goldin will forever break my heart and Wolfgang Tillmans’s thorough and complex approach to photography and image making will always keep me in inspired and in awe.
As a portraitist myself, I love works of painters Alice Neel and Paula Rego, who really breathe life into the likenesses of their sitters.
Recently I was stunned by the film Drive My Car by Ryusuke Hamaguchi based on a short story by Haruki Murakami. The film demanded a lot from the viewer, but it has held me and filled me with feeling, inspiration and thrill unlike any movie in a long time.
Another medium which collates a lot of my inspiration from the last few years is an incredible project On Being by Krista Tippett. Her deeply intimate thought provoking and often life-changing conversations have been my friends for the last few years through which I discovered artists like Resmaa Menakem, Rachel Naomi Remen, poetry of Mary Oliver, powerful fragility of writing by Ocean Vuong, Katherine May’s Wintering and so many others.
我觉得这些总是在变化，即使有一些核心作品和艺术家为我的文学知识打下了基础。Milan Kundera的The Unbearable Lightness of Being, Immortality, Life Is Elsewhere 和Olivia Laing 的 The Lonely City, Funny Weather, Everybody 这些书是我经常回味的。James Baldwin Another Country 自从我第一次阅读后就一直留在我身边。
我总是从文学作品中得到最有力的启发，也许是因为我把照片看作是语言的碎片-文字-构成了一个故事的整体。也许这就是为什么我如此喜欢 Denis Villenueve的电影 Arrival 。它是根据Ted Chiang的短篇小说 Stories of Your Life and Others 改编的。巨大的语言，在那个故事中是我的主角，同时也是舞台和中间的空间。对语言的掌握允许某种程度的时间旅行，并强调需要（和力量）纯粹地接受生活，因为它来到我们身边。
安德烈-塔尔科夫斯基（《怀旧》、《潜行者》、《牺牲》）和克日什托夫-基斯洛夫斯基（《三色三部曲》、《维罗妮卡的双重生活》、《德卡洛》）的电影是我很久没有重温的一些作品，但它们总是以其敏感性、讲故事的诗意和不可思议的电影摄影来欢迎我。Nan Goldin的亲密的原始照片将永远让我心碎，Wolfgang Tillmans对摄影和图像制作的彻底而复杂的方法将永远让我受到启发和敬畏。
作为一个肖像画家，我喜欢画家Alice Neel和Paula Rego的作品，他们真正为他们的坐着的人的形象注入了生命。
最近，我被滨口龙介根据村上春树的短篇小说拍摄的电影《驾驶我的车》惊讶到。这部电影对观众的要求很高，但它却牢牢抓住了我，让我充满了感觉、灵感和快感，这与很长一段时间以来的任何电影都不同。
另一个整理了我过去几年很多灵感的媒介是Krista Tippett的一个令人难以置信的项目The On Being Project。在过去的几年里，她那深入人心的、发人深省的、经常改变生活的对话一直是我的朋友，通过这些对话，我发现了一些艺术家，如Resmaa Menakem、Rachel Naomi Remen、Mary Oliver的诗歌、Ocean Vuong写作的强大脆弱性、Katherine May的Wintering以及其他许多人。
*https://onbeing.org/
Tomky, Borský Svatý Jur, Slovakia; August 2020.
[reading old book]
[阅读旧书]
What do you think is the happiest thing you have ever encountered?
觉得遇到过最开心的事情？
Tereza Cervenova：
I am not sure if this is the happiest thing I have ever encountered. There are so many tones of feeling happy. I feel different happiness when I am in love, different happiness when I am touched by a pure beauty of a moment, of truth, of connection. But I will share with you one of the most beautiful experiences attuned with nature that I was blessed with earlier this year.
On 24th February 2022 I was on the other side of the world, at the Monarch Butterfly Sanctuary Sierra Chincua in Mexico, with no internet connection. I went on an adventure with a group of international artists with whom we only met online before. And then there we were, three days into our trip, standing on the top of the mountain with valley spreading far into the horizon. When the sun peeked through the bed of clouds high up in the sky, a huge kaleidoscope of monarch butterflies soared from the trees behind us. We heard them before we saw them, frozen by the magic of that moment, a dozen of strangers from around the world, surrounded by nature, sitting in silence, while our Mexican hosts were praying with their palms facing towards the sky. In Mexican culture the Monarch butterflies represent the returning souls of those that passed away.
That day was an oxymoron for me. Even though for me it was one of the most beautiful things I have ever experienced, it coincided with the start of something horrendous very close to home – the invasion of Ukraine, just behind the border of my native Slovakia. I have decided to try and turn my experience into help and dedicated an image from that day to fundraise for Ukrainian refugees fleeting to Slovakia.
我不确定这是否是我遇到过的最幸福的事情。感受幸福有许多种音调。当我恋爱的时候，我感受到不同的幸福，当我被某一时刻的纯美、真实、联系所触动的时候，我感受到不同的幸福。但我将与你分享今年早些时候我有幸获得的与自然相适应的最美丽的经历之一。
2022年2月24日，我在世界的另一端，在墨西哥的帝王蝶保护区Sierra Chincua，没有网络连接。我和一群国际艺术家一起去探险，我们之前只在网上见过面。然后我们就在那里，在旅行的第三天，站在山顶上，山谷一直延伸到地平线。当太阳从高空中的云床中探出头来时，巨大的万花筒般的帝王蝶从我们身后的树上飞来。我们在看到它们之前就听到了它们的声音，被那一刻的魔力所凝固，十几个来自世界各地的陌生人，被大自然所包围，静静地坐着，而我们的墨西哥主人正用手掌朝天祈祷着。在墨西哥文化中，帝王蝶代表着那些逝去的灵魂的回归。
那一天对我来说是一个矛盾体。尽管对我来说，这是我所经历过的最美丽的事情之一，但它恰恰是在离家很近的地方开始了可怕的事情-对乌克兰的入侵，就在我的家乡斯洛伐克的边境后面。我决定尝试将我的经历转化为帮助，并将那天的一张图片用于为前往斯洛伐克的乌克兰难民筹款。
Michoacán, Mexico; 24th February 2022.
[Mariposas]
cusp. : [Mariposas]
Talk about future plans?
你未来的规划是什么？
Tereza Cervenova：
I am a person who spent way too many days wondering about what if, dwelling on the past or worrying about the future and living in this world in all its changing climates. So I am really just trying my hardest to be in the present, thankful for all the blessings, which has been granted me by birth, by luck, by my own accomplishments.
Someone recently told me that “…past can be in my mind, but future is in my hands” and it is true. It is in my hands right now, this moment, and future is only going to come one present moment at a time. So I try to make being in the present moment my plan.
我是一个花了太多时间去想如果和纠缠于过去或担心未来的人，在这个世界上生活在所有变化的气候中。因此，我真的只是在尽力做到当下，感谢所有的祝福，这些祝福是由出生、运气和我自己的成就所赋予我的。
最近有人告诉我，"......过去可以在我的脑海中，但未来在我手中"，这是真的。它现在就在我的手中，这一刻，而未来只会在一个个的当下到来。因此，我努力使自己处于当下，成为我的计划。
Námestie Slovenského Národneho Povstania, Bratislava, Slovakia; 16th March 2018.
[jingling the keys for freedom in reference to 1989 Velvet Revolution]
[敲响自由的钥匙，参考 1989 年天鹅绒革命]
[jingling the keys for freedom in reference to 1989 Velvet Revolution]
[敲响自由的钥匙，参考 1989 年天鹅绒革命]
cusp. :
How do you view the relationship between life and work?
如何看待生活和作品之间的关系?
Tereza Cervenova：
For me this is a very close, visceral, passionate, raw and difficult relationship, which can be incredibly fruitful and rewarding but also exhausting and disappointing. Up to now I have been very lucky to be able to blur the line between my life and work, while my personal art was feeding into my commissioned work and vice versa. Pandemic has made that equation a lot more difficult to balance and it has made me reflect on that dynamic a lot.
I always cherished the ability to share my life between my passion and my work very fluidly however in recent years I also experienced how incredibly difficult it can be when you can’t really separate yourself from it. It has made me wonder whether it is the right thing to do or if I should invest more time into trying to create more of a separation. I don’t have the answer to that question and I am not even sure if I would be capable of doing that but maybe, hopefully, it is just a reflection of this moment when things are just a little difficult. Deep down I am so passionately in love with living life with my eyes and heart open and ready to receive and perceive and take in and reciprocate the beauty and wisdom and feelings and conversations rooted in the daily adventures regardless of the time of the day and the setting I am in, whether I am working or just being has never been a conditional and I hope it will stay like that. It really is about a vision for me rather than a situation. So ideally the future will allow for the relationship between life and work be as fluid, soft and malleable as possible. That would be my wish.
对我来说，这是一个非常密切的、内在的、热情的、原始的和困难的关系，这可能是令人难以置信的成果和回报，但也是令人疲惫和失望的。到目前为止，我一直非常幸运，能够模糊我的生活和工作之间的界限，而我的个人艺术正在为我的委托工作提供支持，反之亦然。大流行病使这个等式变得更加难以平衡，它使我经常反思这种动态。
我一直很珍惜在我的激情和我的工作之间非常流畅地分享我的生活的能力，然而在最近几年，我也经历了当你不能真正把自己与它分开时，它可以是多么令人难以置信的困难。这让我想知道这样做是否正确，或者我是否应该投入更多的时间来尝试创造更多的分离。我没有这个问题的答案，我甚至不确定我是否有能力这样做，但也许，希望这只是此刻事情有点困难时的一种反映。在内心深处，我是如此热情地热爱生活，睁开眼睛，敞开心扉，准备接受、感知、接纳和回报那些扎根于日常冒险中的美丽、智慧、情感和对话，无论我在什么时候，在什么环境中，无论我是在工作还是只是在存在，从来都是有条件的，我希望它能一直如此。这真的是关于我的一个愿景，而不是一个情况。因此，理想的情况是，未来将允许生活和工作之间的关系尽可能地流动、柔软和可塑。这将是我的愿望。
Čuňovské Jazerá,Bratislava, Slovakia; August 2020.
[brother]
[弟弟]
cusp. : [brother]
[弟弟]
What do you think about the theme of this exhibition? How does it relate to your own work?
这次展览主题的看法？如何和自己的作品联系？
Tereza Cervenova：
Quotidian - the everyday – is the everything for me in my work. It is the stage, it is the subject, it is the time-frame. It allows me to stay focused (softly or sharply) on the events in my personal life as well as in the world. It allows me to appreciate the light every day differently. It allows me to feel anew about a mundane object on repeated viewing. The events shaping the world change it every day, places that had no significance to us before take on different meaning after we encounter them with a weight of an experience. So it feels at home to me to be part of this collection of artists bound together by a theme so simple, so everyday, that it takes on the form as momentous and grand as the every day itself. We never know if it will be life changing or if it might be our last.
日常-是我工作中的一切。它是舞台，它是主题，它是时间框架。它使我能够对我个人生活中的事件以及世界上的事件保持关注（柔和或尖锐）。它使我能够以不同的方式欣赏每天的光线。它让我在反复观看时对一个平凡的物体有新的感觉。塑造世界的事件每天都在改变它，以前对我们没有任何意义的地方，在我们遇到它们的时候，有了不同的意义，有了经验的重量。因此，对我来说，成为这个由艺术家组成的系列的一部分，感觉就像在家里一样，这个主题如此简单，如此日常，以至于它的形式就像每天本身一样重要和宏大。我们永远不知道它是否会改变我们的生活，或者它是否可能是我们的最后一次。
Vlkolínec, Slovakia; August 2020.
[apple and the fly / heart]
[苹果和苍蝇和心形]
[apple and the fly / heart]
[苹果和苍蝇和心形]