48 Ľuba Lauffová 49 European Journal of Media, Art & Photography Portfolio Life as a temporary miracle: from manierism to concept

ĽUBA LAUFFOVÁ As an exceptional artist, charging the atmosphere with Ľuba Lauffová (*1949 - †2004) Ľuba Lauffová created her own movement (Disappeared Albertina) Ľuba Lauffová was born on photographic poeticism and and optical blurring. This work was the 17th of May 1949 in Bratislava. exploited a wide range of genres: created in the late 1960s. Ľuba Life as a temporary miracle: Her father was one of the founders Nudes, Portraits, Action Art, Lauffová was introduced into the of the photography club life in Illustrations, Work with Children, world of professional artists by Slovakia. Her sister trained as Photography in the Public Space, the curator Zuzana Bartošová in from manierism to concept a pianist. Although Ľuba had a Staged Photography, Light Painting her first exhibition (1976) as a fresh musical talent, she was destined to and Collage. Such classification graduate from the Department of study photography at the School of Lauffová’s work makes it more Photography at the Film School of of Applied Arts in Bratislava and in comprehensible and reflects the the Academy of Fine Arts, shown 1976 graduated from the Academy distinctive character of her creative at the Bratislava Gallery of Cyprián of Performing Arts in Prague as an scope. Majerník. Lauffová’s first exhibition Abstract: various forms of imaginative photogra- exceptionally creative photographer. The female body, the nude as a was devoted to classical themes of The article is based on a book and texts phy, masterfully exploiting collage, mon- At first she worked at a primary art means of expression, is inventively modern photography, variations from Elena Lichá-Zábranská and deals tage, light painting and staged photog- school in Bratislava and from 1983 interwoven in her entire work. on the female nude and portrait, with the lifetime work of the significant raphy. Lauffová completed her positives as a free-lance artist. Apart from The nude appears as part of her but her treatment was unusual. Slovak artist and photographer Ľuba with painterly interventions, giving free creative work, she was concerned creative expression. She started All the technical and expressive Lauffová, who is considered as an ex- rein to her intuition and associations. As with illustrations of children’s taking photographs of nudes at means she used when exposing traordinary personality not only for Slo- an exceptional artist, Ľuba Lauffová cre- books in particular. The year 1989 the Film School of the Academy and enlarging were subordinated vak, but also for European photography ated her own photographic poeticism was marked by general feelings of of Performing Arts at the end of to her unconventional vision. By in general. She studied photography at and exploited a wide range of genres. cultural and personal depression. the 1960s and accomplished them toning black and white photographs, the School of Applied Arts in Bratislava Ľuba Lauffová had a close affinity with She eventually committed suicide on by planting butterfly torsos on the she accentuated their essence. and in 1976 graduated from the Acade- the postmodernist thinking of the early the 21st of March 2004. nudes of the Bodies of Rudolf Fila in She freely continued in the vein of my of Performing Arts in Prague as an 1980s. Irrespective of the domestic so- In the period between 2004. In the meantime she created Czech studio photography of the exceptionally creative photographer. At cial situation, she identified herself with the 1970s and 1990s, her work, the majority of her series and 1930s, being associated with its first she worked at a primary art school European and world art development characteristic of avant-garde and sequences of nudes. preference for the aesthetic level in Bratislava and from 1983 as a free- and through her staged photography inventive artistic vision, challenged Nude in fashion (a scantily clad of work, merely one of the forms lance artist. Apart from creative work, embraced the principles of classic mod- many stereotypes of Slovak art body of a woman in a dress of white of her own artistic personality. she was concerned with illustrations of ernism in the development of Slovak photography. Combining humour flowers). Nude as a portrait (Sasha, Her determination to express the children’s books in particular. The year photography, thus contributing to the with poetry, and beauty with Girl with a Daisy). Nude in Action internal state of women on a level 1989 was marked by general feelings of frequency of photographs as works of eroticism, her photography has art (Deja` vu). Nude as an object unique in the development of Slovak cultural and personal depression. She art in 20th century Slovak fine art. affinities with Czech poeticism and (in the Pezinok chateau park). Nude photography was equally important. eventually committed suicide on the 21st the Slovak form of Surrealism. Ľuba in staged photography (Homage In the large series Homage of March 2004. In her work, characteris- Key words: Lauffová was never confined to pure to Magritte). Nude in collage to Magritte she applied abstract tic of avant-garde and inventive artistic Photography, Imaginative photography, forms of photography and always (Anatomical Collages). Through painting on to the bodies of vision, she challenged many stereotypes Painting, Collage, Montage, Light paint- transformed her point of departure. female nudes she promoted the main protagonists. Through of Slovak art photography. Combining ing, Staged photography, Female body, She easily transferred to various jewellery (Jewellery and Portrait). her emotional integrity, devoid humour with poetry, and beauty with Nude, Portrait, Self-portraits, Stereo- forms of imaginative photography, Nude Judith in a cave is captured of frivolity, she rejected the eroticism, her photography has affinities types, Poetry, Poeticism, Beauty, Erot- masterfully exploiting collage, within old symbolism. When taking moralising view of women, offering with Czech poeticism and the Slovak icism Sensitive, Interior, Artistic, Sur- montage, light painting and staged photographs of nudes, Lauffová’s communication with female form of Surrealism. Ľuba Lauffová was realism, Avant-garde, Secret, Intuition, photography. Lauffová completed inner vision always exploited props nostalgia. Lauffová’s nudity is never confined to pure forms of photog- Associations, Aestheticism, Stylisations. her positives with painterly (scattered feathers from a duvet provocative, but also contains the raphy and always transformed her point interventions, giving free rein to her covered the model’s breasts) noble Aristotlean goal hidden in the of departure. She easily transferred to intuition and associations. and the photographic potential, things we perceive. » 50 Ľuba Lauffová 51 European Journal of Media, Art & Photography Portfolio Life as a temporary miracle: from manierism to concept

She never misused nudity photographers. Using photographic and beauty. Lauffová photographed her allegory. It was not a problem Laubert, Daniel Fischer, Vladimír as an intimate zone of the human montage she created figures herself with a neat decoration in for her to do anything for the Kordoš, Marián Mudroch, Dušan being, yet her work did not lack symbolising ancient European her hair, in a staged environment people she wanted to portray in the Nágel, Rudolf Sikora, Jana Želibská, glamour. The artist did not use the civilisations. and arranged postures. Sometimes photograph providing that it would Peter Meluzin, Matej Kren, Igor nude model in the common sense of Lauffová’s modern she lent herself to her creative be an artistic rendering, not a mere Kalný and others) who reacted the word nor intend to objectivise photographic portrait developed themes as a model (Shift in Man record. Apart from stylised portraits against the effect of totalitarianism her visual invention, but through new forms, expressiveness and a Ray‘s Violin), but always in a positive of figures of Slovak culture, her on people and opposed emptied her communicative approach she penetrating psychological structure aesthetic light. Her self-portraits male or female friends, she created official art. Lauffov. responded to freed it from rigidity in front of of the image. In doing so she confirm and depict her identification an excellent series of portraits of the Artefact Shift organised by the camera; this was reflected avoided the unnecessary roughness with refinement, elegance and Dominik Tatarka that undoubtedly Tóth four times: in the Violin, 1979, in the absence of compositions and sentimental aestheticism into romanticism. Lauffová did not need manifest the artist’s sensitivity she produced a photographic of stereotypical postures. The which Czech photography lapsed to show herself or other women as to documentary stylisation. The record of the animated image and pictures became rare documents at that time. Organically staging anything other than beautiful. This photographer allowed herself to in the photographic series Nude of understanding between the her own elements, she was able to corresponded to that with which drift with random expression, while in Water, 1979, she drew on the artist’s and the model’s individuality. turn real space into artistic space. she liked to identify herself. She was avoiding the pitfalls of spontaneity, theme of sensuality. In 1980 she Soft drawing, dissolved contours, Joining artificial and real in one aware of her personal charm, French and bringing it into harmony with created a sequence Touches I – IV torso, lyrical stylisation. The composition was typical of the so- elegance and popularity in society. discipline and professionalism on the subject of the same name. visual capturing of the creative called new wave with which Ľuba Although the subject of women to produce a human creation. In In 1982, she presented, at the atmosphere was performed by pure Lauffová was associated due to her systematically occurs throughout her photographic documentary evaluation session of the theme of feminine vision. rejection of the surrealistic lyrical the whole scope of Lauffová’s work, portraits she captured Tatarka connection, a series of photographs Ľuba Lauffová was particularly stylisations characteristic of the it is hard to find an obvious reason as a distinctive person, with all entitled How Sculpture is Made. concerned with portrait older generation. to classify her as one of the gender that belongs to it: the aura, the Based on the theme of light and photography in the 1970s. In tune In the 1970s, the development artists of Slovak photography. atmosphere, the expression of lighting and using light painting, with the thinking of the 1960s, the of women’s photography was While the creators of feminist art solitude in which Dominik Tatarka Lauffová created a black and white golden age of Slovak photography, determined by portraits in were not interested in aesthetics lived in Czechoslovakia, and his photographic series Memory of she made several portraits (Sasha, particular. While the American as such, but rather in the status everlasting defiance. Each image Returned Light on 21st March Little Girl with a Daisy, Portrait photographer Linda Benedict of women in society and history, stands for a social portrait. 1985. Participating in the actions and Jewel, Boďa), staged mostly Jones (About Herself, 1975 – 1976) Lauffová had a different life feeling Exploring the results of this of the Bratislava Championship in outdoors in natural light. The resolved her personal crisis by of the period. However, we cannot method, Lauffová continued her Artefact Shift, she found herself in portraits predominantly depicted psychoanalytical photographic self- deny her feminine aristocratic style narrative collages in photography. the environment permeated by the female faces, bearers of ideas of portraits, women artists of Eastern abounding in mimicries, which Attempting to create an authentic, aesthetic criteria of Professor Fila the story. Simultaneously, she used and Central Europe were drowned makes a significant difference relatively new and transformed and his students and occasionally symbolist and surrealistic imagery in their problems in the spirit of old between women’s and men’s reality, she effectively applied also “exploited” them in her creative and Art Nouveau reminiscences. traditions, unwittingly restricted photography. her self-expressing motivation to play. She knew how the lens could She combined a distinctive by social conventions. Self- As in all the genres, which form the principles of children’s affect an ambitious photographer. black and white contrast with reflecting women’s photography Lauffová explored, she does creative methods. The result of this Using several photographic provoking expressiveness. Later independently entered the lives of not impress us by the quantity cooperation shows a complex of methods, she worked with the on she thematically replaced women in the Czech Republic and but rather by the quality of her points of departure characteristic of artists or their artefacts. Within the the mysterious beauty of girls Slovakia only in the 1980s and 1990s. photographic portraits. She did not the works of art in world art history. Artefact Shift, she created several with portraits of women created Lauffová’s suggestive self-portraits tend to proliferate her work without Ľuba Lauffová participated works oscillating on the border of by surrealistic elements. In the allow beauty to come to the fore. any signs of further invention. in the Bratislava Championship in staged photography and Action 1970s, abandoned old buildings, She created them sporadically Acting on her own initiative, Artefact Shift along with artists painting. Etie`nne Cornevin, a ready for demolition to make without associating them with Lauffová portrayed leading representing the Slovak alternative French theorist concerned with space for socialist construction in introversion as aesthetic “portraits” personalities. People and her scene (Klára and Milan Bočkay, fine art and the philosophy of the Bratislava, became studios of young with emphasis on feminine charm friendly approach to them were Rudolf Fila, Július Koller, Otis individuals who actively participated » 52 Ľuba Lauffová 53 European Journal of Media, Art & Photography Portfolio Life as a temporary miracle: from manierism to concept

in Shifts during his 10-year stay then she had illustrated twenty space. The neon light and crumpled ironic Miro Švolík), expressing their encourages us to abandon in Slovakia, was convinced that books and book covers. paper created bizarre reliefs avowal to the contemporary trends conventional viewing for a while, and Lauffová’s participation inspired her At the turn of the 1970s and evocative of mysterious landscapes, of new sensibility, spontaneity and teaches us to dispute the picture to create the finest works. 1980s light painting appeared and rich tones enhanced the transavantgard, Ľuba Lauffová and our perception. She placed Ľuba Lauffová had a close in Slovakia. It is a photographic colour range in shades of blue. The achieved such results in staged emphasis on the arrangement of relationship to lyrical prose and technique in which exposures are photographs accentuate imagination photography. Irrespective of the photographs, intentionally choosing poetry, and was keen on illustrating made by moving a hand-held light and dreaminess, revealing the domestic social situation, she the figures in her concept of it. She tried to make illustrations source or the camera. By moving artist’s fascination with light and identified herself with the European symbols. The narrative character that could stand as independent the light source, the light can be colour. and world art development and of her photography lies in the works of art. The children’s book used selectively to illuminate parts Memory of Returned Light through her staged photography underlying level of her pictorial Magical Landscape created in the of the subject or “paint” a picture (1986) is another series of light embraced the principles of classic objective. The narrative richness 1980s by Daniel Hevier and Ľuba by shining it directly into the paintings. She added to the impact modernism in the development was determined by the relevance Lauffová was awarded a prize and camera lens. Light painting was also of light an inconspicuous modified of Slovak photography, thus of individual elements of reference. is still considered an avant-garde used by Slovak intermedia artists: story. This series was produced in contributing to the frequency of Importance was attached to the achievement from the years of Vladimír Kordoš, Ľubomír Ďurček, connection with the performances photograph as the work of art in effectiveness, power and novelty of normalisation. Its content and form, Ľubo Stacho and Dezider Tóth; of Vladimír Kordoš (1985), which 20th century Slovak fine art. her ideas. displaying highly original imagery the first such work was created by took place at the School of Applied It was her most progressive On staging photographs, and text, make it timeless. The book Rudolf Fila. Vladimír Kordoš and Arts on Palisády, with a replica of period. She associated Neo- she developed the psychological abounds with humorous illustrations Ján Krížik used light painting in Michelangelo’s sculpture of the romantic melancholy with concept, elaborating it in detail and ideas. Lauffová did not attempt their interpretations of classics, but Slave sited there. After documenting Expressionism, Body art and body as a film director. Nothing was to adorn, explain or emphasise also in Body art performances. The Kordoš’s dynamic performance, painting. Lauffová entered the left to a chance. Her domain was the text, but co-create it through so-called “pure” photographers she returned to this place to create space opening to women artists photographing staged scenes in her illustrations. She transferred (Ján Krížik, Stano Slušný, Jozef the Memory of Returned Light, with distinctive photographs. nature and public spaces. She did artistic principles to other levels. In Sedlák, Kamil Varga, and Robo this time without the performer. We find common features of not return to completed series or many ways, she changed the main Kočan from the younger generation) The title resulted from the imaginative thinking with Milota genres. objective of the work. Through also used this frequent technique. essence; Lauffová’s neo-romantic Havránková, Judita Csáderová, Exploring special techniques, her artistry, she escaped matter- Lauffová, too, expanded her sensitivity indicated affinity with both of them from the same 20th century photography of-factness, elevating it to the role artistic programme to include light futuristic contents: the movement generation and educational enhanced a distinctive artistic of symbol and feeling. Objective painting. Sometimes she is not quite of light around a static force, background. Like the artists expression. From the 1970s, reality merely became an excuse correctely classified as a “pure” represented by the cast of the mentioned above, Ľuba Lauffová the technique of collage with to express a particular emotion, photographer. However, she was an Slave. Lauffová’s vibrations in the also created her own original numerous references to modernistic feeling, psychological levels and artist capable of reinventing herself. Memory of Returned Light, every expression. While Havránková experience was associated with the socio-historical atmosphere From the period of her studies, the suspension over its trace, can lead abstracted photography with her Lauffová’s imaginative work. of the moment. Lauffová used process of change of her creative to orientation and fruitful reflection. photogenic photographs, Lauffová Her visual images in collages artistic elements to express the expression was always intensive, Naturally, this was accentuated was committed to Surrealism and endowed with poeticism well distinctiveness of photographic exciting, new and justified. Her by the mastery of all tools of the showed a tendency to dreamlike correlated with those of Albert illustrations of the last third of the reversibility to collage was a rare photographic language used for the poetic genres (Rainbow, Homage to Marenčin, one of the first authors 20th century. paradox. At the turn of 1983 and optical transmission and treatment Magritte, Dance). Through staged of collages in Slovakia; his creed Undoubtedly, her entire 1984 Lauffová worked on a series of of selected elements. photography she focused on the embraced what fascinated her: artistic experience and art teaching photographs titled Homage to Light. Ľuba Lauffová had a close interpretations and homages, to capture poetry and express deepened her knowledge and She layered a neon light tube with affinity with postmodernist thinking polemicising and flirting with poeticism. influenced her creative focus fine crumpled paper and expressed of the early 1980s. When the young René Magritte. Lauffová was a Since her first works, the on remarkable illustrations for her idea of form in picture; her generation emerged onto the photographer of mysterious works method of collage provided children’s books. Illustrations unusual lighting enhanced the Slovak art scene (Tono Stano, Michal that are not superficial at first Lauffová enough space to dominated her work until 1989. By composition, magnifying volume and Pacina, Rudo Prekop, and lyrically glance. Her staged photography discover new meanings. She used » 54 Ľuba Lauffová 55 European Journal of Media, Art & Photography Portfolio Life as a temporary miracle: from manierism to concept

the language of poetry, deeply in a composition of indefinite time connection with fine art. During her experiencing reality and displaying elevated the self-evident to the level studies at the Institute of Creative her sense of humour and ability to of art. Photography of the Silesian overcome barriers. After creating The series Butterflies and University in Opava, she devoted individual collages excellent in Other Butterflies are independent herself in her diploma thesis to the content and artistry: Little Horse, stories she experienced and principles of the life and work of 1976, Balloon with an Eye, 1976, Bird subconsciously transferred into Ľuba Lauffová. – Predator, 1982, Miniature Tree, images about the irritating beauty 1982, she produced large series of existence. The unfinished Other of collages, reaching beyond the Butterflies series is not enlarged border of previously used strategies: photographically. Yet it presents a Skeleton, 1994, Anatomical Collages, refined sense of colour and image 1994, Butterflies, 1996, Other composition, and equally shows that Butterflies, 2003. A detailed analysis the artist preserved the integrity of these collages surprises by the of her intellect during her period J. A. D. Ingres, The Turkish Bath, section Man Ray, Le violin d´Ingres / The violin of Ingres philosophical scope of her reflection of depression. Lauffová’s collage concealed in them. From the aspect series of the 1990s and the turn of form, she achieved the statement of the new century are related to by minimum means, in principle, by the disintegration of the consistent linking two different images. The vision of the world into fragmentary artist touched upon the problem perception, a real phenomenon of existence with an ambition to reaching beyond the 20th century. take into account the Tantric-erotic Ľuba Lauffová applied her aspect of human life. Although the words in her creative practice: “You aforementioned collage series are should not be limited by anything, inherently aesthetic, they can be but do what you feel is right, what metaphorically called critical. you experience”. For almost thirty The 1990s did not restrict years she co-created and directly the appearance of collage. Their determined the image of Slovak suggestive character remained art photography, completing the functional in her collages. Lauffová’s European context and entering into creation of collage series is directly discussion about the new form of related to her respect for major this domain of art, particularly by artists. Harmony or suspense shifting the barriers of traditionally between the appropriated understood photography.“ background and her style of gluing the chosen butterfly ultimately Elena Lichá-Zábranská conveys the interpretation of the (*1948) picture by visual commentary. It is reminiscent of Fila’s painting Profile of the author of the text intervention in the appropriated original image: calendars, books Writer, artist, photographer lives and copies of original paintings. alternately in Sliač and Bratislava. Lauffová’s extraordinary skill at She is concerned with the Ľuba Lauffová, Violin, 1979 placing seemingly unrelated objects phenomenom of photography in » 56 Ľuba Lauffová 57 European Journal of Media, Art & Photography Portfolio Life as a temporary miracle: from manierism to concept

Saša, 1969 Untitled, from the serie Portrait and jewel, 1970

» 58 Ľuba Lauffová 59 European Journal of Media, Art & Photography Portfolio Life as a temporary miracle: from manierism to concept

Homage to Magritte, 1996

Ľuba, 1996

» 60 Ľuba Lauffová 61 European Journal of Media, Art & Photography Portfolio Life as a temporary miracle: from manierism to concept

Homage to Michelangelo, contacts from the film, 1986

Homage to Michelangelo, 1986

» 62 Ľuba Lauffová 63 European Journal of Media, Art & Photography Portfolio Life as a temporary miracle: from manierism to concept

Homage to light 1, 1984 Homage to light 2, 1984

» 64 Ľuba Lauffová 65 European Journal of Media, Art & Photography Portfolio Life as a temporary miracle: from manierism to concept

Portrait (Zuzana Homolová), 80´s Dušan Hanák, 2002 - 2003

Untitled, from the serie Disappearance of Albertina, 1977 Marián Varga, 1971

Dominik Tatarka, 1976

» 66 Ľuba Lauffová 67 European Journal of Media, Art & Photography Portfolio Life as a temporary miracle: from manierism to concept

Torso 1, 80´s Torso 2, 80´s

» 68 Ľuba Lauffová 69 European Journal of Media, Art & Photography Portfolio Life as a temporary miracle: from manierism to concept

Step into the sky, 1983 Raincoat on the painting, 1983

» 70 Ľuba Lauffová 71 European Journal of Media, Art & Photography Portfolio Life as a temporary miracle: from manierism to concept

Balloon with eye, 1976

Little horse, 1976

» 72 Ľuba Lauffová 73 European Journal of Media, Art & Photography Portfolio Life as a temporary miracle: from manierism to concept

Untitled, from the serie Skeleton, 1994

Untitled, from the serie Vesalius, 1994

» 74 Ľuba Lauffová 75 European Journal of Media, Art & Photography Portfolio Life as a temporary miracle: from manierism to concept

Untitled, from the serie Vesalius, 1994

Hotel of a beetle, from the serie Vesalius, 1994

» 76 Ľuba Lauffová 77 European Journal of Media, Art & Photography Portfolio Life as a temporary miracle: from manierism to concept

Untitled, from the serie Vesalius, 1994 Untitled, from the serie Vesalius, 1994

» 78 Ľuba Lauffová 79 European Journal of Media, Art & Photography Portfolio Life as a temporary miracle: from manierism to concept

Untitled, from the serie Vesalius, 1994 Untitled, from the serie Vesalius, 1994

» 80 Ľuba Lauffová 81 European Journal of Media, Art & Photography Portfolio Life as a temporary miracle: from manierism to concept

Untitled, from the serie Butterflies, 1995-96 Untitled, from the serie Butterflies, 1995-96

» 82 Ľuba Lauffová 83 European Journal of Media, Art & Photography Portfolio Life as a temporary miracle: from manierism to concept

Untitled, from the serie Butterflies, 1995-96

Untitled, from the serie Butterflies, 1995-96

» 84 Ľuba Lauffová 85 European Journal of Media, Art & Photography Portfolio Life as a temporary miracle: from manierism to concept

Untitled, from the serie Butterflies, 1995-96 Untitled, from the serie Butterflies, 1995-96

» 86 Ľuba Lauffová 87 European Journal of Media, Art & Photography Portfolio Life as a temporary miracle: from manierism to concept

Untitled, from the serie Butterflies, 1995-96 Untitled, from the serie Butterflies, 1995-96

» 88 Ľuba Lauffová 89 European Journal of Media, Art & Photography Portfolio Life as a temporary miracle: from manierism to concept

Untitled, from the serie Butterflies, 1995-96 Untitled, from the serie Butterflies, 1995-96

» 90 Ľuba Lauffová 91 European Journal of Media, Art & Photography Portfolio Life as a temporary miracle: from manierism to concept

Bibliography

Academic works 2004 - Hojstričová, Jana: Žena zobrazujúca ženu v slovenskej fotografii. Doktorandská práca. Katedra fotografie a nových médií VŠVU, Bratislava. 2003 - Hurnianska, Monika: Maľba vo fotografii a fotografia v maľbe. Diplomová práca. Katedra teórie dejín umenia VŠVU, Bratislava 2003/04. - Nimcová, Lucia: Súčasná ženská fotografia na Slovensku. Magisterská práca. ITF Slezská univerzita, Student Ľuba Lauffová in a photo Opava. by Juraj Bartoš, 1969 2001 - Slovník českých a slovenských výtvarných umělců 1950 – 2001, VII. L-Mal. Výtvarné centrum Chagall, Ostrava. - Hrabušický, A. – Macek,V.: Slovenská fotografia 1925 – 2000. Slovenská národná galéria, Bratislava. - Rusinová, Z (ed.): Umenie akcie 1965 – 1989. SNG, Bratislava. - Geržová, J.: Otis Laubert – Askét bez obmedzenia. Kruh súčasného umenia Profil, Bratislava. 2000 Untitled, Other butterflies, 2003 - Rusinová, Z. (edit): Dejiny slovenského výtvarného umenia. 20. storočie. SNG, Bratislava.

» 92 Ľuba Lauffová 93 European Journal of Media, Art & Photography Portfolio Life as a temporary miracle: from manierism to concept

1999 1986 Tatarku. In: Kultúrny život, 30. 1990, č. 9, s. 12. Literárny Obohatenie fotografie. In: - Birgus, V. – Scheufler, P.: - Čiljak, J.: Slovak foto 3. 1995. týždenník, č. 24. Nové Slovo, 30. 3. 1978, s. 23. Fotografie v českých zemích – almanach slovenskej - J., H. : Písmo v tvári. In: NS 1986 - Pinterová, Zuzana : 1839 – 1999. Grada Publishing, umeleckej fotografie 3. bez rešpektu, 27. 3. 1995. - Tesáková, Juliana: Poetický Fotografie a koláže. In: Praha. Osveta, Martin. 1994 svět Ľuby Lauffové. In: Revue Výtvarný život,1978, č. 6, s. 17 - Geržová, J. (ed.) : Slovník - Fotografia. Du Mont foto 1. - Zbruž, Kamil: Návrat fotografie, 1986, č. 1. – 18. svetového a slovenského Kolín, Nemecko. karpatského pastiera. Smena, 1984 výtvarného umenia druhej - Autoportrét. Du Mont foto 19. 5. 1994. - Fassatti, Tomáš: Trendy Catalogues polovice 20. storočia. Kruh 2. Kolín, Nemecko. - Bajusová, Zuzana: slovenskej fotografie. 2005 súčasného umenia Profil, 1972 Spomienkový večer na - Tesáková, Juliana: Krajina - Menclová-Tesáková, Juliana: Bratislava. - Tausk, P. (edit.): Oborová Dominika Tatarku. In: SME, zázračno na fotografiách Stretnutie 04-SI Praha, 1998 encyklopedie. Praktická 20. 5. 1994 Ľuby Lauffovej. In: Slovenskí absolventi FAMU. - Macek, Václav: Slovenská fotografie. Nakladatelství 1993 Československá fotografie, Praha 2005. Bratislava imaginatívna fotografia 1981 – technické literatury, Praha. - Stachová, Marta: 1985, č. 9. 2005/2006. 1997. FOTOFO, Bratislava. Retrospektíva retrospektívy. 1981 2004 1996 Papers and reviews In: Kultúrny život, 1993, č. 10, - Balák, Štefan: Dívame sa cez - Aukčná spoločnosť SOGA, - Bartošová, Z. (ed.): Očami 2004 s. 8. rameno. Rozhovor s Ľubou Bratislava: 52. Aukcia X. Desať autorov o súčasnom - Kúdelová, Kristína: Tá časť - Krénová, Martina: Ilustrátor Lauffovou. In: Nové knihy, č. fotografie, 5. 11. 2004, s. 56. slovenskom výtvarnom umení. stromu, kde nepreniklo týždňa. In: Kultúrny život, č. 4, 27. 2003 Európsky kultúrny klub na svetlo, je mŕtva. In: SME, č. 10. 3. 1993. - Klaricová, Kateřina: Text - Aukčná spoločnosť SOGA, Slovensku. Orman, s.r.o., Bratislava. 73, príloha Kultúra, 26. 3. - Stachová, Marta: Ľuba na pozvánke na výstavu Bratislava: 44. Aukcia 1995 2004. Lauffová – ilustrátor týždňa. Pomaľované mesto. fotografie, 7. 11. 2003, s. 56. - Rusinová, Z. a kol. autorov: - Tóth, Dezider: Muž spadol In: Kultúrny život, 1993, č. - Klaricová, Kateřina: 2002 Šesťdesiate roky. Slovenská z rebríka: posledná hra Ľuby 10, reprodukcie foto na 5 Pomaľované mesto. In: - Lendelová, Lucia – Pospěch, národná galéria, Bratislava. Lauffovej. In: Domino fórum, stranách. Bydlení, 1981, s. 70 – 72. Tomáš – Rišlinková, Helena: 1993 č. 16, 2004, s. 21. - Stachová, Marta: Ľuba - Muchová, Eva: Maľované Česká a slovenská fotografie - Encyklopédia českých a 2003 Lauffová. In: Profil, 1993, č. 3, ako báseň. In: Večerník. 80. a 90. let. Muzeum umění, slovenských fotografov. - Machová, Eva: Ľuba s. 15 – 16. 1980 Olomouc. ASCO, Praha. Lauffová. In: Watt Foto- 1992 - Schöttle, Hugo: Ľuba - Grygiel, M.: Współczesna 1990 Video. - Václav Macek: Porevolučná Lauffová, fotografie. In: Leica. fotografia słowacka - Macek, V. : Slovenská - Demovičová, Michaela: Šum slovenská fotografia. Profil, č. 1979 (Súčasná slovenská fotografia šesťdesiatych krídiel v Synagóge potrvá 20/21, s. 1 – 3. - Klaricová, Kateřina: fotografia). Centrum Sztuki rokov. Osveta, Martin. až do mája. Hlas Trnavského - Šturma, Jaroslav: Intímny Fotografické ilustrace Ľuby Współczesnej (Centrum 1989 kraja. Magazín Hlas Ľudu. album. Čeští fotografové 20. Lauffové. In: Československá súčasného umenia), Varšava. - Mrázková, D. – Remeš, 2002 století. 90. léta, medailóny. fotografie, 1979, č. 5. 1999 V.: Cesty československé - Fila, Rudolf: Ľuba Lauffová. In: Fotografie, 1992, č. 1, s. 15 – 1978 - Matuštík, Radoslav – Fila, fotografie. Mladá fronta, In: Slovenské pohľady, č. 3, s. 32. - Dvořáková, Mária: Žena Rudolf – Geržová, Jana; Hůla Praha. 2. 1990 očami ženy. Galéria Cypriána – Jiří: Vladimír Kordoš, GMB, - Mrázková, D. a kol.: Co je 1996 - Hevier, Daniel (ed.): Majerníka – fotografie a Pálffyho palác. Bratislava. fotografie? 150 let fotografie. - Fila, Rudolf – Dufek, Anton: Prázdniny. Letný magazín pre koláže Ľuby Lauffovej. In: - Hůla, Jiří – Vladimír MK ČSR, Video press a Ľuba Lauffová. In: Slovenské chlapcov a dievčatá. Mladé Večerník, 14. 3. 1978, s. 5. Kordoš, GMB, Pálfyho palác, Credit, Praha. pohľady, č. 11, s. 2. letá, Bratislava. - Minichová, K.: Znovu Bratislava. 1987 1995 - Čiliak, Ladislav: Fotografie objavovanie. In: Smena, č. 68, - Beke, L. – Macek, V.: - Hlaváč, Ľudovít: Dejiny - Ešte s vami pobudnúť – Ľuby Lauffovej. In: 21. 3. 1978, s. 6. Súčasná slovenská fotografia, fotografie. Osveta, Martin. spomínanie na Dominika Výtvarníctvo, fotografia, film, - Pinterová, Zuzana: Výstava Műcsarnoku v Ernst » 94 Ľuba Lauffová 95 European Journal of Media, Art & Photography Portfolio Life as a temporary miracle: from manierism to concept

Múzeum, Budapešť, január – 1984 Mariánovi Polonskom. FAMU, Letný magazín pre chlapcov Mladé letá, Bratislava. - Bakoš, Oliver: Az imitáció február. - Macek, Václav: Z tvorby Praha 1973. a dievčatá. Mladé letá, - Hevier, Daniel: Krajina mint a természet és 1998 bratislavských fotografov. Bratislava. zázračno. Mladé letá, a müvészet interpretációs - Katalóg k výročiu ŠUR. Výstavná sieň FOMA, Praha. Book covers and illustrations 1989 Bratislava. háttere. In: Kalligram, č. 5, s. Bratislava. - Macek, Václav – Viceník, 2004 - Lehenová, Tatiana: Pre 1982 12 – 17. 1996 Claudius: Súčasná - Uličný, Peter – Varga, vybranú spoločnosť (a zvlášť - Chmielewská, Joanna: - Határ, Gyözö: Kisprózák. In: - Mesiac fotografie, bratislavská fotografia. Dom Marián: Marián Varga o pre Alenku). Slovenský Začarovaný dom. Mladé letá, Kaligram, č. 7/8, s. 41 – 63. november 1996. Spoločnosť kultúry Ružinov, Obvodné cestách, ktoré nevedú do spisovateľ, Bratislava. Bratislava. 1996 FOTOFO, Bratislava. kultúrne a spoločenské Ríma. Slovart, Bratislava. 1988 1979 - Fila, Rudolf – Dufek, 1991 stredisko Bratislava II. 1999 - Válek, Miroslav: Básne. - Halasi, Maria: Katka Antonín: Ľuba Lauffová. In: - Macek, V.: Slovenská súčasná (12/1983 – 01/1984). - Valúch, Dušan: Vražedný Slovenský spisovateľ, z poslednej lavice. Mladé letá, Slovenské pohľady, č. 11. fotografia. Všeobecná čes- 1982 dixilend. Vydavateľstvo Bratislava. Bratislava. 1995 ko-slovenská výstava v Prahe. - Dufek, Antonín: Aktuálni Spolku slovenských - Mihalkovič, Jozef: - Moravčík, Štefan: Čerešňový - Chrobáková, Stanislava: V Ministerstvo kultúry Sloven- fotografie ze sbírek Moravské spisovateľov, Bratislava. Príležitostné básne. hlad. Slovenský spisovateľ, kníhkupectve AF sa dnes skej republiky, s. 50 – 53. galerie v Brně. Moravská 1998 Slovenský spisovateľ, Nová poézia, Bratislava. uskutoční Spomínanie na 1990 galerie, Brno. - Oríšková, Mária: Tá, ktorá sa Bratislava. 1969 Dominika Tatarku. SME, 6. 3. - Macek, Václav: Slovenská 1978 pozerá späť. Ročenka Galérie - Moravčík, Štefan: Sedláci 2 - Leoš Nebor (ed.): Femina. 1994 fotografia. Priemyselný palác, - Bartošová, Z.: Ľuba Médium. VŠVU, Bratislava. (Próza nás hriešnych). Smena, Vydavatelství Novinař, Praha. - Výročie Dominika Tatarku. Všeobecná československá Lauffová. Galéria Cypriána 1996 Bratislava. SME, 19. 5. 247 výstava, Praha. Majerníka, Bratislava. - Bombíková, Petra – - Klimáček, Viliam: Až po Photography in public space 1993 1989 1969 Antalová, Ingrid: Ešte s vami uši. Slovenský spisovateľ, 1984 - Kultúrny život: Ilustrátor - Menclová-Tesáková, - Zavadil, Emil: Mladá pobudnúť. Spomínanie na Bratislava. - Fotografka Ľuba Lauffová týždňa. 4. – 10. 3. J.: Stretnutie. Slovenskí fotografia. Študenti FAMU Dominika Tatarku. Nadácia - Laučík, Ivan: Na prahu a akademická maliarka Klára - Uličný, Peter: Ešte nie absolventi FAMU. ZSVU – Jiří Erml, Pavel Hudec- Milana Šimečku, Bratislava. počuteľnosti. Slovenský Bočkayová: Výtvarné riešenie labutia pieseň. Pokus a Galéria mladých SÚV SZM, Ahasver, Ľuba Lauffová, 1996 spisovateľ, Bratislava. steny v klubovni novej o rozhovor s Mariánom Bratislava. Ján Reich, Ján Lebeda, - Farkašová, Etela a kolektív: - Hevier, Daniel: Dorozumenie základnej školy v Bátovciach. Vargom. In: Dotyky, 1993, č. 4, 1986 Milota Marková a Peter Zbližovanie. Poviedky v jednej reči. Desať básnikov. Schválené umeleckou s. 4 – 6 . - Fila, Rudolf: Ľuba Lauffová, Sirotek spoločne s Tarasom slovenských a rakúskych Slovenský spisovateľ, Bratislava. komisiou SFVU 3. 7. 1984. 1992 Vladimír Kordoš. ObKaSS III., Kuščynskym. Galerie Fronta, autoriek. H+H, Bratislava. 1986 Realizované v decembri 1984. - Macek, Václav: Bratislava. Praha. Autorská kniha. 246 1994 - Trilecová, Božena: Urob O porevolučnej slovenskej - Rusinová, Zora (ed.): Umenie 2004 - Tatarka, Dominik: Kultúra si z handričiek. Mladé letá, Illustrations appearing in print fotografii. Profil, č. 20 – 21. akcie 1965 – 1989. SNG, - Zacharová, Valéria: Balada ako obcovanie. Nadácia Bratislava. media 1990 Bratislava 2001, s. 318, obr. o Ľube. (Fotografické Milana Šimečku, Bratislava. 1984 2003 - Haugová, Mila: Sceľovať 125 Akt vo vode (1979) a obr. vyjadrenie pocty spoločnému 1993 - Hevier, Daniel: Pod - Demovičová, Michaela: Šum doráňaný svet láskou. 126 Tanec (1986). priateľstvu), autorský - Fieldingová, Joy: Nič jablonkou pávy pásla. krídiel v Synagóge potrvá Hovoríme s poetkou Milou 1985 exemplár. Bratislava. neprezrádzaj. IKAR, Antológia slovenskej poézie až do mája. In: Magazín Hlas Haugovou. Literárny Daviesová, S. – Dufek, A. – 1976 Bratislava. o sne. Slovenský spisovateľ, ľudu. Hlas Trnavského kraja. týždenník, č. 24. Hlušička, J.: 27 contemporary - Teoretická diplomová práca. - Goudgeová Eileen: Oddané Bratislava. 2002 - Čiliak, Jaroslav: Fotografie Czechoslovak Photographers. FAMU, Praha 1976. Uložená v sestry. IKAR, Bratislava. - Hevier, Daniel: Muž hľadá - Fila, Rudolf: Ľuba Lauffová. Ľuby Lauffovej. Výtvarníctvo, The Photographers’ Gallery v zbierkovom fonde Umělecko- 1992 more. Slovenský spisovateľ, In: Slovenské pohľady, č. 3. fotografia, film, č. 9. Londýne a Bristole. průmyslového muzea v Prahe. - Moravčík, Štefan: Sedláci Bratislava. Matica slovenská, Martin. 1988 - Birgus, Vladimír, Dufek, 1973 (Chlieb v koľaji). Slovenský 1983 1999 - Hevier, Daniel: Hračkovňa Antonín – Kirschner, Zděnek: - Lauffová, Ľuba: Homo faber. spisovateľ, Bratislava. - Petřík, Vladimír – Šturma, - Letňanová, Elena: Knižka, Daniela Heviera. Ohník, č. Fotografie absolventů FAMU. Ročníková práca, fotografický 1990 Jaroslav: Výlety pod vlastnú ktorá vyšla ako samizdat. 8, 1988/1989. Hevier, Daniel: Dům umění, Brno. dokument o sochárovi - Hevier, Daniel: Prázdniny. kožu. Čítanie o psychológii. SME. Krajina zázračno. Kamarát, s. 4. » 96 Ľuba Lauffová 97 European Journal of Media, Art & Photography Portfolio Life as a temporary miracle: from manierism to concept

1983 Bratislava. - Slovenská imaginatívna sieň ZSVU na Gorkého ul., fotografia. Bratislava. Ahasver, Kuščynskyj, - Hevier, Daniel: Človiečik na - Ľuba Lauffová. Arezzo. fotografia. Műcsarnok, Bratislava. 1982 Lauffová, Reich, Lebeda, tanieri. Kamarát, č. 20. 1992 Budapešť. Reprízy Bukurešť, - Co je fotografie. K 150. - X. celoslovenská výstava Havránková, Sirotek. Mladá - Hevier, Daniel: Ľuba - Ľuba Lauffová. Un passo Varšava, Vroclav. výročiu vyhlásenia vynálezu úžitkového umenia. Dom fronta, Praha. fotografuje. Kamarát, č. 20. verso il ciel (L’Arsomiglio 1998 fotografie. Mánes, Praha. kultúry, Bratislava. - Súčasná československá - Hevier, Daniel: Modré Comune Firenze), Florencia. - Slovak imaginative - Československá fotografie - Aktuálni fotografie. Zo fotografia. Moravská galerie, veličenstvo. Kamarát, č. 20. 1986 Photography 1981 – 1997. 1945 – 1989. Valdštejnská zbierok MG, Moravská Brno. - Hevier, Daniel: Slečna - Lauffová – Kordoš. ObKaSS Embassy of Slovakia, London. jízdárna, Praha. 248 galerie, Brno. - Reprízy Praha, Olomouc, nosorožcová. Kamarát, č. 20. II Bratislava. Pomaľované - Súčasná slovenská 1988 - Posun: Spojenie. Bratislava. Ostrava. 1981 mesto. The Photographers’ fotografia. Všeobecná Výstava. Eisenstadt. 1981 - Klaricová, Kateřina: Gallery, Londýn. československá výstava, 1987 - Medzinárodné bienále Ilustrácie na internete Pomaľované mesto. Bydlení, 1978 Praha. - Výstava. Budapešť. ilustrácií BIB, Bratislava. www.varga.sk s. 70 – 72. Nové knihy, č. 27, s. Fotografie a koláže. Galéria - Výstava k 70. výročiu - Akcia. Objekty v zámockom - Projekty nových foriem kníh. 2. Cypriána Majerníka, založenia ŠUR: od ŠUR po parku v Pezinku. Komora, Gerhard: Kniha, Published papers 1971 Bratislava. ŠUP. - Fotografie absolventov svet dieťaťa (experimentálna 1990 - Šagová, Katarína: Deň 1996 FAMU. Umělecko-průmyslové časť). - Lauffová, Ľuba: Letná škola radosti a režisér Dušan Group exhibitions - Le Corps Photographie. museum, Praha (repríza z 1980 fotografovania Camera Hanák. Dievča, č. 4, roč. III, s. 2006 La Filature Mulhouse, roku 1985). - Pomaľované mesto. Dom obskura alebo fotoaparát zo 12 – 13. Stretnutie 04-SI. Slovenskí Francúzsko. 1986 ZČSSP, Bratislava. škatule na topánky. Doskáč. V 1968 absolventi FAMU. Repríza. - Slovenská imaginatívna - Telo v československej - Mladí slovenskí výtvarní komore. In: Prázdniny. - Divoké víno. Klub Mladá Pálffyho letné sídlo, fotografia 1981 – 1991. fotografii 1900 – 1986. umelci. Leningrad. - Letný magazín pre chlapcov poezie. Praha, 1, č. 1. Bratislava. Kammerhof, Banská Štiavnica. Muzeum Kroměřížska, 1979 a dievčatá. Mladé letá, 1967 2005 1994 Kroměříž. - Súčasná slovenská Bratislava. - Mladá tvorba. Mesačník pre - Stretnutie 04-SI. Praha - Domininik Tatarka. Štúdio S, - Akcia. Tanec s nožíkom. fotografia. Severočeské literatúru, umenie a život, č. 4, Slovenskí absolventi FAMU. Bratislava. Bratislava. muzeum, Liberec. Awards s. 42, 45. Slovenský inštitút, Praha. 1992 1985 - Posuny: Zmyselnosť. 1983 - Repríza Galerie U Prstenu, - Die Zeitgenossische - Fotografie absolventov Bratislava. Čestné uznanie v súťaži CzechoSlovak radioshow excerpts Praha. slowakische Fotografie. FAMU. Dům pánů z Kunštátu, 1975 Najkrajšia kniha ČSSR (Daniel 1978 2001 Landeshaus Schleswig- Brno. Mladá bratislavská fotografia. Hevier: Krajina zázračno). Umelecké pásmo Fotografova - Výstava Fotografie jako Holstein, Kiel, Nemecko. - 27 Contemporary Dům Pánů z Kunštátu, Brno. 1982 pamäť. umění v Československu 1991 Czechoslovakian 1971 Čestné uznanie v súťaži 1977 1959 – 1969. Moravská galerie, - Tsjechoslowakse en Photographer’s. - Československá fotografia. Najkrajšia kniha ČSSR Relácia Najkrajší klenot. Brno. Nederlande Fotografie. Photographers Gallery, Moravská galerie, Brno. (Božena Trilecová: Urob si z - Umenie akcie. SNG, Foto Biennale Enschede, Londýn. - Akcia Keby všetky vlaky handričiek). Photography in musem collections Esterházyho palác, Bratislava. Holandsko. - Repríza Bristol. sveta. Orava. Slovenská národná galéria, 2000 1990 - Posun: Svetlo. Bratislava. 1970 Bratislava. - Slovenské výtvarné umenie. - Slovenská fotografia 1984 - Československá fotografie Moravská galerie, Brno. 20. storočie. SNG, Bratislava. šesťdesiatych rokov. Dom - Mladí bratislavskí fotografi. 1967 – 1970. Moravská galerie, Uměleckoprůmyslové - Slovenská fotografia 1925 – kultúry, Bratislava. ObKaSS II, Bratislava. Brno. museum, Praha. 2000. SNG, Bratislava. 1989 - Fotografie na okraji. - Súčasná bratislavská - Repríza Praha. - Slovenská fotografia 80. Z tvorby bratislavských fotografia. Krakov. Stand alone exhibitions - Slovenska výtvarná rokov. Československý fotografov. Výstavná sieň 1969 1996 fotografia. Centrum rozhlas, Bratislava. FOMA. Fotochema, Praha. - Mladá fotografie. Výstava - Pocta Magrittovi. Mesiac súčasného umenia, Varšava. - Slovenskí absolventi FAMU 1983 fotografickej sekcie. fotografie. Galéria Palisády, 1999 – Stretnutie 02. Vystavná Súčasná bratislavská Fotografie: Erml, Hudec- »