The "Super Natural Series" residency in Bokros, Slovakia, emerges as a vibrant node for relational art practices embedded within the rural landscape, where human connections unfold against the Danube's flowing canvas. Hosted by Yuri Dólan at a historic farmstead, this initiative reimagines the residency as a "situational and relational" ecosystem, treating the terrain not just as backdrop but as an active participant in co-creating meaning. By ditching digital distractions—like forgoing a cellphone—the artist invites an intensified attunement to the here-and-now, fostering "frugal art" through intimate, ritual-like engagements with the environment. These include ephemeral burnings of site-specific installations by the river, acts that weave human intention with the shifting greens of cornfields and the amber hues of wilting sunflowers, turning the landscape into a collaborative partner in dialogue. At the heart of this Bokros encounter lies the "Unstable Installation Series", where local elements like smooth river stones form equilateral triangles—geometric anchors that relationally stabilize the ever-changing natural flux. These tactile interventions dialogue with the 8-minute film "Through Fields. Fire and Mud", a direct, POV journey toward a house laced with melancholic tones, extending into bonus pieces like the concrete "POOL" as readymade relational hubs. Together, they embody the "Raw Identity" video series, with the lens serving as a relational bridge, capturing and archiving the transient bonds between body, land, and atmosphere in a meta-documentary flow.
What truly animates the residency is its relational core: communal meals, shared rituals, and cross-cultural exchanges that entwine diverse artists into the landscape's narrative. This is vividly seen in collaborations sparked by figures like Marta Kiss, whose group show in Komarno's repurposed church juxtaposes sacred history with the farm's earthy vitality. Captures of peers—such as Yasmin’s post-apocalyptic beetle ensembles or Hala Swal’s layered flat sculptures—amplify the project's dynamizing force, turning interactions (from farm owners' dinner toasts to sips of apricot Pálinka) into a living map of social interconnections. This rhizomatic web extends the Slovakian fields outward, linking to prior relational explorations in Sweden, Mexico, and Colombia, where landscapes similarly host these fluid, participatory art forms. In essence, the Bokros MMXIX project champions "situational fixers" as relational tools in our over-connected era, urging a return to nature's timeless rhythms through observant, embodied presence. LAPIEZA's fusion of the farm's anthropological roots with avant-garde interactions dissolves boundaries between inquiry, ceremony, and creation, positioning the landscape as the ultimate relational medium. Here, the whisper of leaves bending in the wind rivals the digital trace in importance, offering a flexible framework for art's forward-thinking ethos—one where deepest revelations emerge from the music's quiet sorrow and the shared traverse of open fields. This landscape-infused relationalism isn't escape; it's a purposeful immersion into empathetic, collective making.
Lloveras, A. (2019) Super Natural Series Slovakian Ruralism MMXIX Extended Duna. [Online] Available at:
