Milan Grygar




Fait Gallery
Ve Vaňkovce 2, Brno
8. 3. 2017 - 29. 7. 2017
Vernissage: 8. 3. 2017
Curator: Denisa Kujelová
“I am sure, that there are correlations in the world, the sound is connected to the visual and also the visual doesn’t exist without the acoustic.”

Milan Grygar has been exploring the specific concept of relations between visual and acoustic in very diverse and often contradictory parallels for more than five decades. The fact that in the context of the Czech art scene Grygar is absolutely remarkable, is influenced by his interest in experimental music and the follow up of the development of international inter media tendencies based in the contemporary avant-garde music (beside the system of free atonality of Arnold Schoenberg, we can mention the Notation of New Music by Erhard Karkoschka and the aleatoric concept of John Cage).

With regard to other artists experimenting with the new music and its alternative graphic notations, Grygar`s work was defined mainly by the possibility of correlations of acoustic and visual components which determine each other. In the case of Milan Grygar, sound is not tied to the artwork just by associations based on synesthesia (however it is possible to think about his work in this way, without any interpretative framework) and it is also not a completely autonomous element. It is a completely unique principle in art, when the acoustic perception gets a fuller emphasis when creating the artwork in such a sophisticated way that the picture becomes actually retrospectively an instruction, a transcription of how to read it once more, but on the acoustic level this time.

By trying to clarify the process itself and the direction of motion, he additionally discovered (with the help of tape and video recording) the hidden potential of this twofold connection. This dual dimensionality of visual and acoustic he later completed with the actual recording of the work process. He connected all three levels through mutual time unity and to a simple visual expressive power of the art piece. He, thanks to the sound, added the possibility to define the space and by adding the option to also record the process at the time.
The phenomenon of sound has permanently been present in Grygar’s art work since the mid-60s, when the artist, after focusing fully on the medium of drawing, systematically started to examine it and to record it. The sound, at the beginning defined by a series of individual strokes issued by specific instruments, became an unusual parabola to the visual rhythm. After a series of drawings and paintings with wooden sticks, and acoustic drawings, with the help of other typical tools, he developed polyphonic possibilities of drawing gestures, especially with the help of mechanical self-propelled machines. For those living drawings, as well as in other drawings with a performative character, especially tactile, there is a huge influence of the chance, which, while probably trying for the closest connection of visual and audio elements, he replaces his own will by more objective, not dependent factors. However, the element of presumptive chance is firmly controlled and determined by the artist himself.

In consequent repetition of drawn syntactic formula of the square grid in other types of drawings so called audiplastic and black and white and white and black canvases with linear grids, the sound is shown in different ways, that violate the monotony of structure either by a change of the rhythm, colour or by adding some other drawing element. The acoustic quality of Grygar‘s drawings within modern musical notation is more noticeable in his ranks of formulas and scores. These were, no doubt, created with the idea of a specific audio result. The possibility of interpretation is also open and the presence of the artist at the musical interpretations is absolutely vital.
After more than twenty years, the artist returned to painting a series of black paintings with colored linear elements based on the contrast of monochrome surfaces and sharp, complementarily coloured lines of fixed light.The very large and also very diverse series of Antiphons is created by minimalistic geometrical shapes and subtle lines, which are gradually accentuated with colour. However, the use of bold colours can be dated back to the 60s when the artist created the original models for Spatial scores that were produced in monumental scale almost half-century later. A radical shift occurs in the newest work, where Milan Grygar steps back from the variety of colour and returns to the using of a piece of wood to create a series of large scale drawings and paintings.
T: Denisa Kujelová

Svätopluk Mikyta / Ornamentiana


Fait Gallery MEM
Ve Vaňkovce 2, Brno
30. 11. 2016 - 17. 1. 2017
Vernissage: 30.11.2016 at 19:00
Curators:: Lucia Tkáčová & Anetta Mona Chisa

Svätopluk Mikyta experiments for a long time with materiality and visuality, and in his work playfully rearranges potential of the existing in the direction to the past and the future. His work is "hauntological" (Derrida), meaning that his themes and the creative process are marked by the „disjointed time". He does not address the time point of pure origin, always only the absent presence: big and small history, remixing of signs and symbols, designing new iconographies, samples of the new collective memories, alternatives of the reality tunnels, creating new beginnings and new ends, recycling of the old grammar, discarded books and dumped materials.

ORNAMENTIANA creates a fresh grid of correlations and searches for a new aesthetic. Remix of techniques and materials, collage-like installation approach, exploration of the very notion of „art” lead to a choreographed experience that includes the viewer into the overall assemblage.

ORNAMENTIANA changes the axes of our three-dimensional arena. It is based on Cartesian choreography of space, on regular but also moving grid of horizontals and verticals.

ORNAMENTIANA is a levitating surface full of relationships moving to the complexity of time and space, a visual manifest, detachment from the gravity of the committed towards the infinity, weightlessness, universality.

ORNAMENTIANA is a horizontal landscape, flat surface, horizontal sculpture, in which the unique vertical is made by the visitor of the exhibition, whose presence expands it by another coordinate.

ORNAMENTIANA reconstructs and translates ornaments, renders new visibility and allows the viewer to feel the archaeology of time. It is reoccurring use and subsequent stigmatization of folklore. Past future, future past.

ORNAMENTIANA is the acceleration of existing aesthetics. Exploring of the visual and material nature of perceiving of the world here and now. Anadigilogtal.

ORNAMENTIANA reviews the formal aspects of art on the border between high and low, the circumstances of their production in the context of never sleeping society.

ORNAMENTIANA is non-hierarchical, de-centralized, de-politicized. It denies the affirmative, fixed position, proclaiming, barricades and it contradicts our vision about our demonstrative political-activist gesture.

T: Lucia Tkáčová & Anetta Mona Chisa

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