ALENA KOTZMANNOVÁ / JAN ŠERÝCH / A CHILIAGON

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.

ALENA KOTZMANNOVÁ / JAN ŠERÝCH / A CHILIAGON

23.02.2012 - 30.03.2012

Fait Gallery MEM

Božetěchova Street 1 (entrance from Metodějova Street), Brno

Curator: Jiří Ptáček

It would certainly be interesting to carefully investigate how the photographic work of Alena Kotzmannová meets storytelling. Her portfolio includes cases of direct emphasis of the relationship between the pictures and the (accompanying) text, as was the case with the Fish People in 2010, and also the cooperation with Lenka Vítková, who added pieces of her own literature among the photographs in the Hunt Kastner Artworks gallery. Kotzmannová has also illustrated a story by Tomáš Pospiszyl (published in the magazine Umělec /Artist) and later, when transforming the story into a video, she added her photographs to the same template. In addition to these factual examples in some of her work we can discover direct or hidden film references – a medium strongly connected with storytelling and last, but not least among her work we can find pieces that refer to the time as determining factor of the content (and the time dimension is an essential condition to any narration). As there isn’t enough space to thoroughly develop the above ideas in the text about the joint exhibition with Jan Šerých, let's take the mentioned examples as slightly unstable foundations for the hypothesis, that the questions of narration and narrative play an important role in Alena Kotzmannová‘ s thinking, and quite probably they - as a sort of inarticulate sci-fi – stand behind the collection called Undated.

Being next to the the works of Jan Šerých, however, is that rare moment when there are more than any other time revealed other implicit aspects of her work. This time it, undoubtedly, highlights the formal aspects Kotzmannová’s way of photographing. Central symmetry of her still lifes and yellow striped frame are reflected in Šerých‘s strict drawing structures and the photo installation Tornádo /Tornado inspired by a found picture of a woman posing for the photographer far enough (?!) from the trunk of a whirlwind. Šerých used two captured axes – the first one is a woman standing in the ideal center of the frame and the other one is a twisted column of dust spinning around its eye. By spinning the photo printing around the vertical axis Šerých emphasised this principle and in accordance with the tone of the installation of his drawings it seems he is claiming that the adjustment is more important than the depiction (despite that it is the adjustment he uses to relate to the exhibited works).

And this fact brings us back to the photographs of Alena Kotzmannová. Not only that yellow stripes along the edges of the photographs change the perceptual quality of the pictures, they also - as well as adjustments - are actually a commentary on what is captured in the pictures: objects are variously "adjusted" and shown this way to the viewer (and the lens of the photographer).

The Chiliagon by Alena Kotzmannová and Jan Šerých could be compared to the two punch cards laid over each other. At first glance, there is an obvious formal kinship, that actually brings the theme of "proximity" (ad-juxtare), including the contrasting opposite at long tables covered with Jana Šerých drawings, that actually "recede" from the viewer, because he/she can actually not properly inspect them, could then be considered as the adjacent holes in punch cards. However these aspects should not cover the last metaphorical evocation, I have noticed in the combination of their work. In a Chiliagon Šerých as well as Kotzmannová create an environment referring solely to artistic problems. But the impression of selected pictures evokes a strong affective as well as associative response, and also the kind of laboratory atmosphere of the exhibition, create together a generally understandable key also for the audience prefering emotions and ideas. And this brings us – althought from a different side - very close to the storytelling, where we actually started.

Jiří Ptáček

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