Evelyn Bencicova

Evelyn Bencicova (b. Bratislava, 1992) is a visual creative specialising in photography and art direction. Informed by her background in fine art and new media studies (University for Applied Arts, Vienna), Bencicova’s practice combines academic research with an interest in contemporary culture to create a unique aesthetic space in which the conceptual meets the visual.

Evelyn’s work is never quite what first appears to be. Her photographs depict meticulously controlled compositions characterised by an aesthetic sterility, tinged with poetic undertones of timeless desire and longing. Evelyn constructs compelling narrative scenarios that blur the lines between reality, memory and imagination, “fictions based on truth”. Her disturbingly beautiful visual language set within curiously symbolic environments, allow for a deep exploration of the themes that take her works far beyond what they reveal at first glance.

While her career started with applied photography, since 2019 the practice shifted towards more immersive and experimental forms of story-telling, through collaborative projects using digital 3D techniques and virtual reality.

Evelyn’s client repertoire includes fashion and luxury brands such as Gucci, Cartier and Nehera, as well as cultural institutions such as Frieze, Berghain, Kunsthalle Basel, Royal Opera House, Slovak National Theatre and Ballet and Museums Quartier Vienna. In 2018, Bencicova was invited to create visuals for the Institute of Molecular Biology in Austria, and to perform at the closing ceremony for Atonal Berlin.

Evelyn’s commissioned and artistic projects have been featured in the likes of Vogue Portugal, Vogue Czechoslovakia, Vogue Spain, ZEIT Magazine, ELLE, Dazed & Confused, i-D, GUP, HANT, Frieze and Metal Magazine. Her work has been published in prestigious international photography books and on several online platforms (Juxtapoz, iGNANT.com, Fubiz media) and she has participated in solo and group exhibitions across the world – Fotografiska Stockholm, National Portrait Gallery in London, Barbara Thumm Berlin and Vogue Photo festival to mention few.

In 2016, Bencicova received the prestigious Hasselblad Masters. She was shortlisted and awarded by Taylor Wessing Photographic Portrait Prize, Berlin Masters Prize, Leica Oskar Barnack Award, BNL-BNP Award, VR Artprize, LensCulture, Independent Photographer, Gomma Grant, Life Framer, Photo IS:RAEL, Tokyo International Photo Award, Young Guns 17, Photo Vogue and OFF Festival. Evelyn was selected as one of 30 under 30 Female photographers of 2019 by Artpil.

“Work in Progress” show created with Enes Guc for Barbara Thumm Gallery curated by Philipp Bollmann.

The motionless figure of an androgynous giantess occupies almost the entire gallery space in her entangled posture. On its body and around it, small scaffolding grows upwards. But the construction site is deserted. Only the figure, which resembles an avatar, remains in a calm state. A state of “being in between”. Between day and night. Between dream and reality or even between life and death? It almost seems as if the figure is still being brought back to life. One is inclined to think of Mary Shelley, whose novel character Victor Frankenstein created an artificial human being 200 years ago – in a time of great upheaval and discovery. Today we find ourselves once again at a turning point in society and technology, which makes us question ourselves as well as platforms on which we construct our selfs.. Is that what Evelyn Bencicova and Enes Güç are alluding to here?

Or are they even illustrating a creation of the „Self-image“?The presentation for the sake of external perception has advanced to a mania that was only enabled by the possibilities of the digital media. We use our extended abilities to make ourselves appear different, often larger than we presumably are. The oversize of the figure is a testament to this. Yet the smaller-scaled scaffolding becomes a metaphor for the process of construction, work in progress. How will it develop? To what extent can it grow?

These questions cannot be answered. Like the figure itself, we as recipients also remain in an intermediate stage. Somewhere between fiction and reality, the visible and the invisible, between what we think to know and what we can imagine. (Philipp Bollmann)

At the still point of the turning world. Neither flesh nor fleshless; Neither from nor towards; at the still point, there the dance is, But neither arrest nor movement. And do not call it fixity, Where past and future are gathered. Neither movement from nor towards, Neither ascent nor decline. Except for the point, the still point, There would be no dance, and there is only the dance. (T.S. Eliot)
Enes Guc and Evelyn Bencicova for Tanec Praha

The Rite of Spring was premiered on 29th May 1913 in Paris. The first performance caused a riot – the audience was scandalised. Dancers from Culture Device paid homage to this groundbreaking work with a reimagining in celebration of the 106th anniversary of The Rite of Spring in collaboration with Nowness & Royal Opera House.

Artist Details