SELECTION FROM THE FAIT GALLERY COLLECTION II
25.02.2026 - 02.05.2026
Fait Gallery, Ve Vaňkovce 2, Brno
Exhibition concept: Ondřej Kotrč
Opening: 25th February, 6 pm
While loosely following in the wake of the previous exhibition, the second part of this overview of the Fait Gallery collection represents, in a certain sense, its opposite. In contrast to the previous instalment, which primarily represented abstract art from the second half of the 20th century, with a focus on geometry and structure, Czech modernism and its resonance and evident influences in contemporary Czech painting, this exhibition directs its attention towards art that places greater emphasis on depicting the real world. Contradicting the artists working in the spirit of geometric abstraction, presenting more universal subject matter, these works are inspired by reality, depicting it more or less explicitly while bringing to the forefront an appreciation of the human figure and its depiction.
It is precisely this fascination with the human body and physicality, manifested either directly or metaphorically through fragments, tools, and situations inextricably intertwined with it, that forms the framework of the exhibition. As such, the exhibition features a number of works reflecting themes such as sport, while at the same time exploring a certain existential decadence as well as aspects of humour within the context of this fascination with the human condition.
Chronologically, we loosely move on to works created predominantly after the year 2000, which is also evidenced by the wider representation of the medium of installation, an example of which is the large-scale work Deep in Enemy Territory by the Rafani Group, one of the group's most extensive projects. The installation fulfils an integral part of the exhibition and, as was already mentioned, comments on a complex psychological situation through the relationship between visual art and the symbolism of sport.
The exhibition follows a predefined selective framework, yet it does not aspire to present an indisputable message regarding a specific issue or topic, a fact that is understandable given its nature. It does, however, seek to showcase the fruits of Fait Gallery and Igor Fait's extensive collecting activities over the past 15 years, to present a series of high-quality works by both Czech and foreign artists, to allow them to come into their own in their individuality and, at the same time, to present the sphere in which these individualities coexist and support each other within a compact whole.
Ondřej Kotrč
Represented artists:
Vasil Artamonov & Alexej Klyuykov, Alžběta Bačíková, Ondřej Basjuk, Nina Beier, Marie Blabolilová, Josef Bolf, Radek Brousil, Jan Brož, Michel Comte, Milena Dopitová, Markéta Filipová, Jiří Franta & David Böhm, Jan Gemrot, Martin Gerboc, Michal Gogora, Damien Hirst, Katarína Hládeková & Ondřej Homola, Katarína Hládeková & Jiří Kovanda, Jakub Hošek, František Hudeček, Matyáš Chochola, Krištof Kintera, Eva Kmentová, Vendula Knopová, Vladimír Kokolia, Jiří Kolář, Eva Koťátková, Ondřej Kotrč, Alena Kotzmannová, Denisa Krausová, Nika Kupyrova, Alicja Kwade, Martin Lukáč, Kamila Maliňáková, Pavla Malinová, Pavel Matyska, Marek Meduna, Jan Merta, Svätopluk Mikyta, Kamila Musilová, Jan Nálevka & Václav Stratil, Pavla Naďová, Petr Nikl, Michal Pěchouček, Ivan Pinkava, Jan Poupě, Skupina Rafani, Tomáš Roubal, Lucia Sceranková, Pavla Sceranková, František Skála, Matěj Smetana, Václav Stratil, Tomáš Svoboda, Robert Šalanda, Adriena Šimotová, Jiří Topínka, Lubomír Typlt, unconductive trash, Kateřina Vincourová, Lenka Vítková
The exhibition Selection from the Fait Gallery Collection II is a sales exhibition and is the last exhibition of Fait Gallery in its current space at Ve Vaňkovce 2.
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
