It's maybe a little before midnight, and you can hear the TV from the next room.  Curled up in the covers, I'm reading an email from Eva Kot'átková with the first information about the project Interview Through the Wall. The TV turns on at around seven o'clock on weekdays, earlier on weekends. A daily ritual. If it weren't for the occasional sneeze, a few phone calls, and the creaking of the dance floor, I would have gotten the impression that we were adjacent to the television. Guaranteed human sounds are minimal next door, but we hear the TV word for word. The lives of pensioners subtly underline the lives of the heroes of the dozens of series that occupy primetime on Czech TV stations during the week.  
I have no need to follow the fate of the real or virtual inhabitants of the apartment next door through the soundtrack. Still, the prevalence of artificial sounds is a bit of a mystery to me. Sometimes I unconsciously try to reconstruct the movement of the couple next door. In a rare lapse in the ritual of watching evening television, I am perhaps a little worried if something has happened next door. The social milieu of apartment buildings is an eternal theme for all those not fortunate enough to live in at least a family home.I find it normal to adapt to my surroundings to some extent.  Especially in public life, I don't think anyone can avoid it. It's just that if we are participants in the game of living together, we don't have enough privacy at home either, and we can't be completely ourselves. Living together is a test for everyone involved. This is doubly true if one is neighbouring with an artist, constantly working with a network of ingrained patterns and rules that shape us on a daily basis. 
Eva Kot'átková has put the person behind the wall to a somewhat unusual test. She left a note on the windowsill with an offer to write. After a long time, the neighbour accepted the offer and for several weeks the two corresponded quite happily. At least for today, the rather unusual and active interaction between the inhabitants of the two adjacent flats is interrupted by Eva's frequent travels. Sometimes New York, sometimes Zlín, but the conversation is certainly not over yet. The curiosity of two people gave birth to an interesting project. The sensitive performance, which comes to the gallery in the form of transcribed letters, very distantly resembles a sociological survey. By talking through the wall, Eva comes closest to the field of social interventions in art. Unlike Kateřina Šedá, for example, she does not present models of solutions. The goal for Eva is not the involvement of others. If her actions somehow influence the actors involved (and this has undoubtedly happened in the case of the constant correspondence with the lonely elderly lady), it is rather a by-product. Eve's utopian disruption of schemes does not breed other schemes. Nor is it an exploration of the boundaries of privacy. She has always been very introspective about her artistic explorations. For Eva, the people involved are partners, but they are also pieces in the puzzle of the problem under investigation. If she explores anyone, it is mostly herself. And she doesn't let any sobs escape.  
The topics addressed may smack of repressed trauma. In Eva's exhibitions we repeatedly find returns to (traumas of) childhood, often brutal drawings of bizarrely tortured, deformed human figures, explorations of the relationship of the individual to the imposed system. Despite these heavy themes and cruel images, the adjective "playful" has been associated with Eva's work for many years. Through her projects, she continually proves that she has not lost touch with her childhood. The fantasy has remained unbound by convention. She makes do with ordinary objects and situations.In the projects, it presents the possibilities of how to work with the rules. In the form of photo documentation in the exhibition he presents constructions made for (his own) body. A construction for looking into people's windows, a human coat rack, a construction for reading, or perhaps a construction for reading, writing, drawing and sitting. Unusually solved everyday situations. Ordinary activities are transformed by constructions into beautiful dramas. Alternative practices that you can't try at home, yet make you think about the ones proven by practice. Similarly, he looks for other points of view in the other photo-documentations and drawings and videos on display.

In 2007, Eva Kot'átková became the youngest recipient of the Jindřich Chalupecký Award. At only twenty-five years of age, she achieved the most respected prize for young artists in the Czech Republic.  Although she was certainly not an unknown artist at the time, her victory came as a surprise to many people. One could say that she fulfilled the role of a black horse. At that time she was still a student in the studio of Painting II, which is still led by Vladimír Skrepl and Jiří Kovanda. Letting outstanding artistic personalities teach is not always a guarantee of success. This studio, unlike many others, was really lucky. Over the last ten years, a good number of interesting artists have passed through it, who have regularly made their mark outside the Czech scene. Eva has managed to impress from the very first year of her studies and winning the Jindřich Chalupecký Prize did not tie her hands. She continues to amaze with new ideas, willingness to experiment and last but not least with her hard work.