2025: [1]
[pro eršejňiben, te ejl-te ačhen dikhade]
Barbara Kowalczuková
July 3rd – August 8th
On July 3rd, the third TYPOSPOT exhibition opens under the title [for starters, be seen], featuring our exhibiting artist Barbara Kowalczuková. Her installation responds to this year’s annual theme [1] through the lens of the invisibility and isolation of a language that is present in everyday life but absent from official, public, and visual spaces. The language in question is Romani, which, as the language of the largest minority in Slovakia, forms an inseparable part of the urban soundscape. It can be heard in the city—but it cannot be seen.
Barbara’s installation identifies this visual absence and simultaneously critiques it as a consequence of a broader societal framework—as neither the state, local governments, nor the private sector have shown long-term willingness or interest in communicating in Romani. The resulting image of public and shared space reflects who is considered a part of the nation, and for whom it is being built. This leads to the key question of the exhibition: What and who do we recognize as part of shared space, and who is even allowed to be seen within it?
Formally, the installation consists of three visually identical posters, each in a different language—Slovak, Romani, and English. This trilingualism is not merely a formal gesture but a fundamental conceptual tool that highlights linguistic inequality, erasure, and the need for more just representation. The exhibition seeks to open a discussion on how visual culture can support inclusion and make space for languages that are being systematically erased from the public realm.
Barbara Kowalczuková is a graphic designer and a graduate of the Typolab Studio at the Department of Visual Communication at the AFAD in Bratislava. She first explored the absence of the Romani language in public space in her diploma thesis, titled Vizualita o dikhiben pre romaňi čhib – The Visuality of the Romani Language (2024). She has long collaborated with cultural and socially engaged organizations, and her practice focuses primarily on typographic solutions and visual strategies.
O dikhiben la Vistavake, lakero pheriben sikavel trinto manušňi savi kerel peskeri vistava, e Barbara Kowalczukova, pre lakeri dikhibňi vernisaža tumen jileha vičinas!
Lakeri inštalacija-pheraviben kerela rejakcija pre beršeskeri buťi TYPOSPOT-u [1] lačharibnaha ke problematika-nalačhiben savo ačhel pro nadikhľipen amara romaňa čhibake, sar čhib savi pes del te šunel andre sako dživipnaskero ďives no nane andro oficijalnone thaj buchlarde nipeskere dikibne-vizualnone kotorende, rodas vašoda vzorci sar pre late dokhen o gadže-e majorita. O them, o gava, forova ňo o sukromono sektoris nasikaven zaujmos-interesos kala čhibaha te kerel varesavi kooperacija, buťi andre komunikacija. Themutne thana keren, sikaven čitros pal o charakteros amara phuvake-themake – kadi nasikaďi virtualnono čhib ačhavel jekh phučiben: ko kerel, pheravel o verejnono, themeskero than u kaske hin domukľipen kaj les šaj te dikhel?
La formalnono inštalizacija pheravel trin dikihibne-vizualnone – rovnakone palagati, save hine numa sako jekh andre aver čhib – slovačiko, romaňi thaj anglickoňi. Kada troj čhibakero pheravipen nane čak varesavo formalnono gestos, numa zoralo, zasadnono pheraďipen nastrojoske savo sikavel pre čhibakero phageripen-pre ňervnosťa-bangipen u kamipen oleske kaj pes te prezentinel čačipnaha-spravodlinones thaj e romaňi čhib. E vistava-dikhibňi peske ačhavel baro cjelos kaj pes te del duma, vakeriben pal oda, sar čaj e dikhibňi-vizualnono kultura te spomožinel, te ažutinel la inkluzijake čibenge /jekhetaňibnaske maškar o manuša/, save ačhen andralo verejnone, themeskere thana ispiden avri.
E Barbara Kowalczukova pes kala temake rakinelas peskera buťaha thaj andre peskeri diplomašňi buťi u vičinelas pes Vizualita-Dhikiben o dikhiben pre romaňi čhib, savi irinďa pre VŠVU, Katedrate vizualnono komunikacijake atelijeriste Typolab (2024). Hiňi grafickono dizajnerka, savi but berša kerel jekhetanes le kulturnono thaj spoločneskono organizacijenca. Andre peskeri buťi pes zathovel hlavnones pro tipografickone lačheribena thaj dikhibne-vizualnone startegiji.
Dňom 3. júla sa otvorí v poradí tretia výstava TYPOSPOT-u pod názvom [pre začiatok byť videní], autorkou ktorej je Barbara Kowalczuková. Jej inštalácia reflektuje tohtoročnú ročníkovú tému [1] cez optiku neviditeľnosti a osamelosti jazyka, ktorý je síce prítomný v každodennej realite, no absentuje v oficiálnom, verejnom a vizuálnom priestore. Reč je o rómčine, ktorá je ako jazyk najpočetnejšej menšiny na Slovensku neodmysliteľnou súčasťou akustiky miest. V priestore mesta ju je počuť, no nie je ju vidieť.
Inštalácia obsahovo pomenúva tento vizuálny deficit a zároveň ho kritizuje ako dôsledok širšieho spoločenského nastavenia – štát, samosprávy ani súkromný sektor totiž dlhodobo neprejavujú ochotu ani záujem týmto jazykom komunikovať. Takto vzniknutý obraz verejného a zdieľaného priestoru odzrkadľuje, kto túto krajinu tvorí a pre koho je budovaná. Kľúčovou otázkou sa tak stáva: čo a koho vnímame ako súčasť spoločného priestoru a komu je v ňom vôbec dovolené byť videným?
Formálne inštaláciu tvoria tri vizuálne rovnaké plagáty, ktoré sú však každý v inom jazyku – v slovenčine, rómčine a angličtine. Práve táto trojjazyčnosť nie je len formálnym gestom, ale zásadným obsahovým nástrojom, ktorý poukazuje na jazykovú nerovnosť, neviditeľnosť a potrebu spravodlivejšej reprezentácie. Výstava si tak kladie za cieľ otvárať diskusiu o tom, ako môže vizuálna kultúra napomáhať inklúzii a zviditeľňovaniu jazykov, ktoré sú z verejného priestoru vytláčané.
Barbara Kowalczuková je grafickou dizajnérkou a absolventkou ateliéru Typolab na Katedre Vizuálnej komunikácie VŠVU v Bratislave. Téme absencie rómčiny vo verejnom priestore sa venovala už vo svojej diplomovej práci s názvom Vizualita o dikhiben pre romaňi čhib – vizualita rómskeho jazyka (2024). Dlhodobo sa venuje spolupráci s kultúrnymi a spoločensky angažovanými organizáciami. Vo svojej práci sa zameriava najmä na typografické riešenia a vizuálne stratégie.
This project is supported by Nadácia Tatra banky and Staromestské kultúrne centrá.
Exhibitioning artist:
Barbara Kowalczuková
@barbara_kowalczukova
Event photos:
Ester Šmídová
@esters.lens
2025: [1]
[pro eršejňiben, te ejl-te ačhen dikhade]
Barbara Kowalczuková
July 3rd – August 8th
On July 3rd, the third TYPOSPOT exhibition opens under the title [for starters, be seen], featuring our exhibiting artist Barbara Kowalczuková. Her installation responds to this year’s annual theme [1] through the lens of the invisibility and isolation of a language that is present in everyday life but absent from official, public, and visual spaces. The language in question is Romani, which, as the language of the largest minority in Slovakia, forms an inseparable part of the urban soundscape. It can be heard in the city—but it cannot be seen.
Barbara’s installation identifies this visual absence and simultaneously critiques it as a consequence of a broader societal framework—as neither the state, local governments, nor the private sector have shown long-term willingness or interest in communicating in Romani. The resulting image of public and shared space reflects who is considered a part of the nation, and for whom it is being built. This leads to the key question of the exhibition: What and who do we recognize as part of shared space, and who is even allowed to be seen within it?
Formally, the installation consists of three visually identical posters, each in a different language—Slovak, Romani, and English. This trilingualism is not merely a formal gesture but a fundamental conceptual tool that highlights linguistic inequality, erasure, and the need for more just representation. The exhibition seeks to open a discussion on how visual culture can support inclusion and make space for languages that are being systematically erased from the public realm.
Barbara Kowalczuková is a graphic designer and a graduate of the Typolab Studio at the Department of Visual Communication at the AFAD in Bratislava. She first explored the absence of the Romani language in public space in her diploma thesis, titled Vizualita o dikhiben pre romaňi čhib – The Visuality of the Romani Language (2024). She has long collaborated with cultural and socially engaged organizations, and her practice focuses primarily on typographic solutions and visual strategies.
O dikhiben la Vistavake, lakero pheriben sikavel trinto manušňi savi kerel peskeri vistava, e Barbara Kowalczukova, pre lakeri dikhibňi vernisaža tumen jileha vičinas!
Lakeri inštalacija-pheraviben kerela rejakcija pre beršeskeri buťi TYPOSPOT-u [1] lačharibnaha ke problematika-nalačhiben savo ačhel pro nadikhľipen amara romaňa čhibake, sar čhib savi pes del te šunel andre sako dživipnaskero ďives no nane andro oficijalnone thaj buchlarde nipeskere dikibne-vizualnone kotorende, rodas vašoda vzorci sar pre late dokhen o gadže-e majorita. O them, o gava, forova ňo o sukromono sektoris nasikaven zaujmos-interesos kala čhibaha te kerel varesavi kooperacija, buťi andre komunikacija. Themutne thana keren, sikaven čitros pal o charakteros amara phuvake-themake – kadi nasikaďi virtualnono čhib ačhavel jekh phučiben: ko kerel, pheravel o verejnono, themeskero than u kaske hin domukľipen kaj les šaj te dikhel?
La formalnono inštalizacija pheravel trin dikihibne-vizualnone – rovnakone palagati, save hine numa sako jekh andre aver čhib – slovačiko, romaňi thaj anglickoňi. Kada troj čhibakero pheravipen nane čak varesavo formalnono gestos, numa zoralo, zasadnono pheraďipen nastrojoske savo sikavel pre čhibakero phageripen-pre ňervnosťa-bangipen u kamipen oleske kaj pes te prezentinel čačipnaha-spravodlinones thaj e romaňi čhib. E vistava-dikhibňi peske ačhavel baro cjelos kaj pes te del duma, vakeriben pal oda, sar čaj e dikhibňi-vizualnono kultura te spomožinel, te ažutinel la inkluzijake čibenge /jekhetaňibnaske maškar o manuša/, save ačhen andralo verejnone, themeskere thana ispiden avri.
E Barbara Kowalczukova pes kala temake rakinelas peskera buťaha thaj andre peskeri diplomašňi buťi u vičinelas pes Vizualita-Dhikiben o dikhiben pre romaňi čhib, savi irinďa pre VŠVU, Katedrate vizualnono komunikacijake atelijeriste Typolab (2024). Hiňi grafickono dizajnerka, savi but berša kerel jekhetanes le kulturnono thaj spoločneskono organizacijenca. Andre peskeri buťi pes zathovel hlavnones pro tipografickone lačheribena thaj dikhibne-vizualnone startegiji.
Dňom 3. júla sa otvorí v poradí tretia výstava TYPOSPOT-u pod názvom [pre začiatok byť videní], autorkou ktorej je Barbara Kowalczuková. Jej inštalácia reflektuje tohtoročnú ročníkovú tému [1] cez optiku neviditeľnosti a osamelosti jazyka, ktorý je síce prítomný v každodennej realite, no absentuje v oficiálnom, verejnom a vizuálnom priestore. Reč je o rómčine, ktorá je ako jazyk najpočetnejšej menšiny na Slovensku neodmysliteľnou súčasťou akustiky miest. V priestore mesta ju je počuť, no nie je ju vidieť.
Inštalácia obsahovo pomenúva tento vizuálny deficit a zároveň ho kritizuje ako dôsledok širšieho spoločenského nastavenia – štát, samosprávy ani súkromný sektor totiž dlhodobo neprejavujú ochotu ani záujem týmto jazykom komunikovať. Takto vzniknutý obraz verejného a zdieľaného priestoru odzrkadľuje, kto túto krajinu tvorí a pre koho je budovaná. Kľúčovou otázkou sa tak stáva: čo a koho vnímame ako súčasť spoločného priestoru a komu je v ňom vôbec dovolené byť videným?
Formálne inštaláciu tvoria tri vizuálne rovnaké plagáty, ktoré sú však každý v inom jazyku – v slovenčine, rómčine a angličtine. Práve táto trojjazyčnosť nie je len formálnym gestom, ale zásadným obsahovým nástrojom, ktorý poukazuje na jazykovú nerovnosť, neviditeľnosť a potrebu spravodlivejšej reprezentácie. Výstava si tak kladie za cieľ otvárať diskusiu o tom, ako môže vizuálna kultúra napomáhať inklúzii a zviditeľňovaniu jazykov, ktoré sú z verejného priestoru vytláčané.
Barbara Kowalczuková je grafickou dizajnérkou a absolventkou ateliéru Typolab na Katedre Vizuálnej komunikácie VŠVU v Bratislave. Téme absencie rómčiny vo verejnom priestore sa venovala už vo svojej diplomovej práci s názvom Vizualita o dikhiben pre romaňi čhib – vizualita rómskeho jazyka (2024). Dlhodobo sa venuje spolupráci s kultúrnymi a spoločensky angažovanými organizáciami. Vo svojej práci sa zameriava najmä na typografické riešenia a vizuálne stratégie.
This project is supported by Nadácia Tatra banky and Staromestské kultúrne centrá.
Exhibitioning artist:
Barbara Kowalczuková
@barbara_kowalczukova
Event photos:
Ester Šmídová
@esters.lens
2025: [1]
ARCHIVE
2025: [1]
Open Call
TYPOSPOT is an indie exhibition space that provides a platform for emerging and young graphic designers and typographers, focusing primarily on contemporary typography. The aim is to offer them a creative and free space for self-realization, which can be often difficult to achieve in the early stages of their careers, especially given the current societal and cultural situation in Slovakia. At the same time, we want to highlight the city-shaping potential of typography—both its positive aspects (the identity of the city and public spaces) and its negative ones (visual pollution, poor-quality typography, and aggressive forms of visual expression).
At the same time, we want to highlight the discipline of graphic design and typography itself. Typography is an integral part of our daily lives, yet it is often overlooked and undervalued by the general public. TYPOSPOT demonstrates that typography can also evoke various emotions and visual impulses. The individual installations will thematically respond to current issues and phenomena related to the lives and challenges of young people, such as activism, otherness, individualism, information overload and disinformation, extremism, and climate change. Additionally, our exhibition space is an open and safe space for queer individuals, fostering inclusivity and dialogue through typography and design.
TYPOSPOT will be a pop-up display in a public space, where we will host both individual and collective exhibitions on a six-week cycle (until the end of the year). In agreement with the Old Town administration, the exhibitions will take place in three blind windows on the side façade of the Zichy Palace, facing Prepoštská Street. This is a busy area frequented by locals, Bratislava residents, and tourists alike. Each exhibition will introduce a designer through their own installation (three posters showcasing their project). Additionally, every installation will be enriched with accompanying events, such as an opening vernissage, guided tours, DJ performances, live acts, and more. At the end of the year, a catalog featuring interviews with the exhibiting artists will be published. By placing this project directly in the public space, we increase its visibility and reach, contributing to the city's identity-building, visual emancipation—similar to what we see in other contemporary metropolises—and fostering a deeper understanding of typography and the Old Town.
TYPOSPOT is inspired by the Viennese project Typopassage and Bratislava’s Typogaráž. While the goals and presentation methods of these typo-projects vary, they are all united by one thing: a love for typography. TYPOSPOT is organized by a collective of graphic designers—Monika Juríková, Peter Pozník, and Tomáš Paulen (students and graduates of the Academy of Fine Arts and Design in Bratislava)—in collaboration with the Old Town cultural centers.
Contact
Supported by
We support
TYPOSPOT is an indie exhibition space that provides a platform for emerging and young graphic designers and typographers, focusing primarily on contemporary typography. The aim is to offer them a creative and free space for self-realization, which can be often difficult to achieve in the early stages of their careers, especially given the current societal and cultural situation in Slovakia. At the same time, we want to highlight the city-shaping potential of typography—both its positive aspects (the identity of the city and public spaces) and its negative ones (visual pollution, poor-quality typography, and aggressive forms of visual expression).
At the same time, we want to highlight the discipline of graphic design and typography itself. Typography is an integral part of our daily lives, yet it is often overlooked and undervalued by the general public. TYPOSPOT demonstrates that typography can also evoke various emotions and visual impulses. The individual installations will thematically respond to current issues and phenomena related to the lives and challenges of young people, such as activism, otherness, individualism, information overload and disinformation, extremism, and climate change. Additionally, our exhibition space is an open and safe space for queer individuals, fostering inclusivity and dialogue through typography and design.
TYPOSPOT will be a pop-up display in a public space, where we will host both individual and collective exhibitions on a six-week cycle (until the end of the year). In agreement with the Old Town administration, the exhibitions will take place in three blind windows on the side façade of the Zichy Palace, facing Prepoštská Street. This is a busy area frequented by locals, Bratislava residents, and tourists alike. Each exhibition will introduce a designer through their own installation (three posters showcasing their project). Additionally, every installation will be enriched with accompanying events, such as an opening vernissage, guided tours, DJ performances, live acts, and more. At the end of the year, a catalog featuring interviews with the exhibiting artists will be published. By placing this project directly in the public space, we increase its visibility and reach, contributing to the city's identity-building, visual emancipation—similar to what we see in other contemporary metropolises—and fostering a deeper understanding of typography and the Old Town.
TYPOSPOT is inspired by the Viennese project Typopassage and Bratislava’s Typogaráž. While the goals and presentation methods of these typo-projects vary, they are all united by one thing: a love for typography. TYPOSPOT is organized by a collective of graphic designers—Monika Juríková, Peter Pozník, and Tomáš Paulen (students and graduates of the Academy of Fine Arts and Design in Bratislava)—in collaboration with the Old Town cultural centers.
Contact
Supported by
We support