The exhibition presents a project whose focal point is the current appearance of an archaeological site - a 9th-10th century hillfort - in the village of Tlmače. The character of this environment is the result of several decades of persistent activity of gardeners and viticulturists. The activities led to the destruction of the site and by the end of the 1970s it was clear to archaeologists that systematic field research was impossible.

The project builds on the artist's previous works, mostly paintings or in conjunction with installation, series and solitary works. Memory, identity, myth and landscape have long been the subject of her artistic programme. She is interested in relationships to the past (both older and younger) manifested in social and individual approaches to public space and landscape.

Of Other Traces traces how the medium of painting (i.e. fictional artistic research of a site) can approach specific content-spatial issues, but also how the appropriation of archaeological methods analyses the principles of the emergence of the pictorial surface. It compares the emergence of the "artistic" artefact with the notion of taskscape/landscape shaped by human activity (T. Ingold). In his preoccupation with things like residue, artifact, "type" or "idol", he presents banal private visual situations as meta-stories. It invokes a disruption of the chronological, logical and ideological contexts of the site in question, interweaving and "assembling" them.

The predominantly pictorial part of the exhibition, and the second, multimedia part, both draw on a reversal of optics, on the idea that the gardening area can be considered an atypical kind of archaeoskanzen, a multi-layered space that is itself a kind of postmodern collage, a hybrid, where its individual elements associate the history of the destroyed site, present subjective microhistories or refer only to themselves. Or, and this is important, these banal morphologies and "ruins of lesser significance," are released from their original contexts or functions and become free elements open to new understanding.

The exhibition presents Michaela Šuranská's doctoral thesis with a connection to the Central Slovak Gallery's collaboration with graduates of the Academy of Arts.