ONDŘEJ HOMOLA / ARANGE

The events that are present in Tomáš Bárta's paintings take place between two spaces and the partition between them. These pictures inevitably set a "backward course" through the history of European painting, all the way back to Leon Battista Alberti’s reflections on the construction of pictorial space which he incorporated into his seminal work De pictura (1435). However, instead of a well-organised renaissance arrangement, Bárta offers us more ambiguous spatial relations and a spectral illusion of the objects inhabiting his paintings, as if architecture produced its own ghosts.

ONDŘEJ HOMOLA / ARANGE

03.04.2013 - 25.05.2013

Fait Gallery PREVIEW
Dominican Square 10, Brno
3/4 - 25/5/2013
Opening: 2/4/2013 at 6pm
Curator: Martin Nytra

The installation by Ondřej Homola builds on illusory banality and dry humor based on semiotic play with the meanings of similar-sounding words „the arrangement“ and „orange“, creating a prima facie absurd and senseless situation. This relationship results from the emotions and associations that both expressions evoke. The feeling of absurdity is amplified at the idea of neatly composed pyramids of oranges in the greengrocers department, that is actually - in our cultural environment - better known from the movies and shopping during the holidays by the sea, makes this picture as a demonstration of superfluity almost ideal. At the same time it points to the interchangeability of subject and object of an art piece. The exhibition title The Arrangement also relates to this and it deliberately works with the phenomenon of the ideal of beauty by the way of depicting the appropriate ways of adjustment, presentation and construction or deconstruction of concepts. In our case, it refers in particular to modernity and a substantive man's relationship to the object, which attributes the high aesthetic quality, which consequently generates and multiplies by the characteristic way of life of the consumer society, and which thus acquires an existential nature. The individual exhibited artworks interpret the aesthetics and the art language of modernism in relation to the objectives and resources within the context of applied art and promotional art and thus refer generally to the avant-garde role in the transformation of societal values and perception of reality. In the process of deconstruction and construction therefore the means becomes the target. The physical figure breaks down into a 3D and mechanical model that supports the mold, devoid of its the symbolic function, but liberated and imbued with the spirit of the new beauty.

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