David Možný

Blink of an Eye

 
Kristián Németh

Warm Greetings



Petr Veselý / A Knife in the Cupboard

12.05.2021 - 14.08.2021

Fait Gallery, Ve Vaňkovce 2, Brno

Curator: Barbora Kundračíková

Opening day: May 12 2021, 5 pm–9 pm

 

Even today, we still tend to understand a picture as an autonomous entity, a unique, final object which has a life of its own and naturally separates itself from the whole of the world. For that matter, we have spent a long time pursuing this, so it’s all good! However, there exists a close link between picture and word, including the inner ones. They belong to each other by their very nature, yet we seldom stress that the connection should be direct and, especially, generally accessible so that everybody can go through the same gateway. Then, however, there come moments when a picture communicates nothing but solidarity, shared being and one existence when the picture itself not only moves between horizons and transcends them but it is also absorbed by reality. This fully applies to Petr Veselý’s pictures. Their objectivity involves not only the time dimension but also a transcendental one. 

Ernst Gombrich writes in his reflection on illusion that the power of interpretation can’t be overestimated, mentioning J. M. W. Turner whom he views as somebody who deliberately and in favour of what he sees suppresses all he knows about the world.[1] Both are also relevant today, as we are moving on the same border of discernibility. Petr, however, turns not to what he can see but to what he can touch. 

The moment of touch is magical, a touch has the power to take life and also to restore it. The laying of hands is an ancient ritual, hands radiate warmth and coolness, recognise, and in some cases also heal. The essence is always the same: the expression of craving for the original, the real, for what is genuine and to what we, at least imaginarily, return. Gombrich does that himself when talking about abstracted forms as a phenomenon of western visual culture which is certainly remarkable yet fatefully lacking any assessment rules. In Petr’s case, however, we move on the opposite side of the spectrum; a picture is an abstract, grey form, yet it is permanently striving at figuration, or evolves from it. At the sane time, what is abandoned calls for attention which is equally reversible, and the movement we perform during its recognition is thus cyclic and without memory. Echoes of objectivity are secondary, yet they have rules – and these manifest themselves in this way. 

Petr’s work is about constants which regularly come to the fore. This regards both his poetry and what can be termed the natural life of things. As in a truly home environment things do not just appear but exist, they meander in forms and functions and their being has an order which also involves decline, so they are like this in the artist’s pictures, or rather, his pictures are like that. They show what a close link there is between them and the world if we deliberately insert them in the framework of our existence. Matter captivates.

Petr is aware of this, of course, otherwise he wouldn’t put so much effort into the bridging of the gap between reality and its image, between what has come to pass and what we expect. He also likes to enter this space, shaping it and summarizing it. Medieval altars in museums are the relics of other autonomous worlds, and the objects of the ordinary world devoid of their function are also like that. Naturally, this is an expression of reduction, but also concentration and (controlled) absence which, paradoxically, grows stable in its loss and thus resonates all the more its original function and talent.[2] A hand frozen in motion, a shirt stretched in its bend moving from the field to the picture and beyond expresses this perfectly. As Ivan Blecha writes, “a reflection that the restricted position of the observer (…) leads to a restricted presentation of a thing is wrong and the statement about the necessary non-representationality of some aspects of reality, about its permanent distortion, is in fact unreasoned extrapolation.“[3] A picture is often the only thing left of something that once existed. It is a notch of a knife in a cupboard.

 

 



[1] E. H. Gombrich. Umění a iluze. Studie o psychologii obrazového znázorňování. Praha 2019, p. 235.

[2] In the last decades the formative task and nature of “things” has also been resumed by the western philosophical tradition, namely by Bruno Latour and object-oriented ontology (OOO). 

[3] Ivan Blecha. Prostory zjevnosti. Dílo ve struktuře světa. Zlín 2018, p. 129.



Markéta Magidová / TERTIUM NON DATUR

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Fait Gallery PREVIEW
Ve Vaňkovce 2, Brno
15. 6. - 30. 7. 2016
Vernissage: 15. 6. 2016 at 7pm
Curator: Jiří Ptáček

Three years ago, a visual artist and art theorist Markéta Magidová held a solo exhibition Domestic dictionary in Brno Gallery Kabinet. She complemented a 3D installation by a printed dictionary interpretation of terms and phrases specially used only within her family. Interpersonal bonds within this basic social unit could have been viewed as a network emerging and confirming itself through language.

For Markéta Magidová the use of a wide range of artistic media is important. She, however uses spoken or written word, so regularly, that the exploration of these could be viewed as the significant focus of her work. It is the same case with the exhibition Tertium non datur. The installation part of the exhibition and the video are based on a single principle: the metaphorical use of the number 3. In the spatial installation created of objects and photographs there could be found traits that make the exhibition resemble as well as differentiate from the previously mentioned Domestic dictionary. As a similarity between the exhibitions you can see the efforts of the artist to bring together the fullest list of labels and names that, in this case, include the number three. The third eye, third hand, the tripod, the Third Reich ... Unlike the Domestic dictionary, however,this exhibition does not come with interpretation. It loosely lays one next to the other and leaves it upto us if we discover partial connections or the inability to create any justification for collecting these "third things" at one point. The consequence might be the impression that we are facing a somewhat obscure collection.

Magidová though monitors the role of language in shaping the thought structures and value systems. At the exhibition, called by the logical principle of allowing only two true statements, she draws the attention to "exclude" the third option. She focuses on the names that indicate redundancy, failure, a mistake, otherness, etc. She focuses on the deeply rooted binary schedule of human thought, within which case it is only considered to be "complete" and flawless. The author's intentions are yet political, at least as a discussion with the thought schemes, for which the deviation is considered a disadvantage without examination of its potential benefits. Exactly for this reason a part of the exhibition became a video in which the mime artist Petr Biel improvises movement of creations on three legs. It causes laughter or contempt within the audience. The question, however, is whether these two immediate emotional reactions are only two ways of rejecting that potential before it slowly starts to root.

T: Jiří Ptáček

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