the little infinity

Marian Palla

 
Matter in Eternity

Habima Fuchs



Marian Palla / the little infinity

21.02.2024 - 04.05.2024

Fait Gallery, Ve Vaňkovce 2, Brno

Curators: Denisa Kujelová a Vít Havránek

Opening: 21st February, 7 pm

 

To create a picture using earth from a Moravian orchard is to abandon the modernist tradition of expressionism, fauvism, impressionism, and also what preceded them. For someone who doesn't paint every day, such a decision may seem easy. But it isn’t, as both the painter and the picture lose the joy of a brush sweeping across the palette and canvas, as well as the effects conveyed by colour. For curators and the visitors, the earth pictures, one of which gave the exhibition its title, are a gateway to the most extensive display of Marian Palla's work to date. We enter Palla's oeuvre from roughly the centre of its material sediment, literally crashing, like country schoolmasters, into the middle of a giant molehill. Because, in keeping with the artist's programme, this is neither a complete nor a scholarly retrospective but typically, or occasionally, a taxonomic (exploring the species diversity of the artefacts) and random show.

Palla's very first participation in a public presentation of young Brno artists (1971) grabbed the attention of Jiří Valoch, for whom the Nature picture was "something different at first sight".[1]. This event led to their acquaintance and Palla became an active member and a driving force behind the now-legendary[2] Brno circle. His studio in Kotlářská Street provided the space for countless meetings, debates, studio exhibitions and performances by invited guests. The distinctiveness that had enchanted Valoch was not only visible against the backdrop of the conformist art of the time, it also characterised Palla's work within the Brno circle. It centred around two opposites, seriousness resulting from the experience of land art and drawing performances (I existed in this painting for two days and ate 7,799 grains of rice, 24 hours, Journey to a touch, Drawings with tea, etc.), and humour, or more precisely, naivety, constantly present from the earliest paintings (My parents, Nature, etc.).

Palla actually describes himself as a naive conceptualist.[3] The starting point for this conceptualism was not Duchamp nor his idiosyncratic interpreter Kossuth, but rather Magritte's painting This is not a pipe. The language, idea and definition of art around which the interest of Anglo-American conceptual artists gravitates has its roots in Palla’s work in fiction, poetry, and increasingly in Zen spirituality. Humour, naivety, self-criticism, empirical observation, description of obvious facts, absurd questions, paradoxes, the great subjects of the philosophy of life. We find all this condensed in every single one of Palla's poems, objects, pictures which are created because the artist wants to "experience intensely" but at the same time "to do things without purpose". Art and Zen practice mutually intertwine.

The concept of abandoning modernity mentioned in the introduction (with the exception of conceptual art) was employed by the artist to move through the history that far predates it. He could view the manifestations of the zeitgeist and modernity with the hearty kindness of a caveman, and painting with sticks or body parts, Neolithic pottery, imprinting and other prehistoric practices hold a prominent place in his work. Perhaps due to his pre-modern perspective, his work naturally constituted itself from the positions of interspeciesism and radical sustainability topical today. He arrived at it not by reading Bruno Latour but through a concentrated meditation on the reality that surrounds him.

For that matter, even the essay Against Interpretation[4] relevant today draws attention to the simplification (undoubtedly related to conceptual art) committed by art theory when it forgets the qualities that arise in primary sensory perception and assesses the value of an artwork only through interpretation. Sontag notes the "experience of something mystical, magical" that the prehistoric creature had in the Lascaux cave. Palla's conceptualism was aware of the brain's one-sidedness and involved body parts and nature in creating art. Projecting the ideal of enchantment into a remote French cave, as the New York theorist did, was not an option for Palla; in contrast, he demonstrates that it can be experienced by anyone in their surroundings. In his case, also between cities, Brno, a country house with a yard and animals, and cosmic nature.

Note, for example, that the Spoilt picture, Crack and other works by Palla owe their existence to the correction of the insight into the meaning of error; the error of artistic skill or material in the creative process. The consistent concept of doing things without purpose directs the artist not to exclude error, awkwardness, displeasure, or any other option based on the outcome. It grants each variation a potential for intense experience, its own inherent and healing beauty. This may seem a serious error of judgment, a naivety in a society organised around the pragmatic pursuit of success and profit. But once the crack opens, the beauty of error and ruining starts working, as a source of therapy of the imaginary common sense.
 
T: Vít Havránek
 
 
 

[1] VALOCH, Jiří. Marian Palla: Ticho, čekání a dech (kat. výst.). Galerie Na bidýlku, Brno, December 1987.

[2] Let us note here the publications and exhibitions of Barbora Klímová, long-term research of Jana Písaříková and Ondřej Chrobák of the Jiří Valoch Archive in the MG in Brno, the similarly focused research of Helena Musilová, the catalogues of the works of Vladimír Ambroz (Tomáš Pospiszyl), ČS koncept 70. let by Denisa Kujelová (ed.), Akční umění by Pavlína Morganová, etc.

[3] Marian Palla, Naivní konceptualista a slepice,2014.

[4] Susan Sontag, „Against Interpretation." In Against Interpretation and Other Essays, 1966.



Kateřina Vincourová / "WHENEVER YOU SAY."

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Fait Gallery 
Ve Vaňkovce 2, Brno
23rd March - 4th June 2016
Opening: 23rd March 2016 at 7 pm
Photo: Martin Polák
 
Kateřina Vincourová does not exhibit often, so her exhibitions are naturally more concentrated. After some time, she now returns to the Fait Gallery with a project, in which she develops several parallel interlinking themes, particularly memory, body and the routine of everyday life. On one side there is the idea of travelling in time, in the sense of a collective as well as personal history, whilst on the other side there is the exploration of hidden, sometimes almost ethereal forms of physicality. The connector for both is a cross of sophisticated work with banality, thanks to which the author is able to take the most ordinary of materials and tell the most powerful of stories, these are often randomly found items and fragments of the material world. Kateřina Vincourová entered the Czech art scene in the early 90s of the last century and in 1996 she became the first woman to win the Jindřich Chalupecký Prize. The exhibition "WHENEVER YOU SAY.", in which Vincourová connects her sense for handmade detail and intimacy with the monumental scale of generous space in Vaňkovka in Brno, follows up the author's extensive exhibition in Špála Gallery in Prague (2014) and also anticipates her presentation at the exhibition Bittersüße Transformation (Bittersweet changes), which will be opened at the Kunsthaus in Graz, Austria from the end of May this year.
 
Martina Pachmanová, Curator of the exhibition

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