FRANTIŠEK SKÁLA / TWO YEARS' VACATION

26.02.2020 - 25.07.2020

Fait Gallery, Ve Vaňkovce 2, Brno

Opening: 26. 2. 2020 at 7pm

Curator: Miroslav Ambroz

 

In my past lives, I was a hunter and a gatherer. I would always start my everyday routine
with decorating tools, weapons and creating musical instruments for myself.

1) Even though you were considered as the creator of spatial objects, in this exhibition your major emphasis is on paintings. What was the impulse?

The new atelier, where for the first time in my life, is light, space and warmth, this helped me to finally start painting. An eternity of horizons was open in front of me, together with two big travels to Columbia and Australia, I understand this happy season as staying on an abandoned island, therefore the name "Two years’ vacation".

2) In 2004 you painted large format canvases "Roads of swifts" and "Mother Earth". In the sametime frame you also painted "Chaple of Karlin", and even before that, "Envelopes" were created, therefore in your own way you are continuing with something that was created long before? 


Of course, I was already painting in the '70s during my studies. Back then I inherited very rare pigments from prof. Slánský, which I am using presently. The first time I used them was during my exhibition in Rudolfinum, when there was a need to paint something great for "Silent Hall" and a figure of the central deity arose, which is appearing in my works in different varieties. Connection with the material was always important for me. The type of work on the ground on the non-gesso canvas, together with water diluted pigments and acrylate bonds demanded this physical contact. Even in some places on the paintings, there are my footprints. 
 
A wall painting "Chaple of Karlin" was in somewhat a cleansing exhibition after the floods in 2002, and according to an agreement I had to turn it white. The oldest envelopes date back to 1986. The style of their decoration is connected with the style of "Third rococo" and that epoch is accumulated in my works. In the '90s I created multiple large format envelopes, which I perceived as the object/pictures having multiple-meanings and it opened an inexhaustible line packed into certain cushions, similar to guitars. This is related to my favourite non-standard formats (ovals) and adjusting large canvasses "free" without the stretcher bar.

3) What was most interesting thing about Australia?


First of all never ending space and starry skies. Five weeks, every evening by the fire in the desert. Furthermore, colours and rock paintings as old as 60 000 years. This was the first time I have seen baobabs and eucalypti that were 800 years old, which existed way before the arrival of whites... breathtaking scenery. I brought back a lot of collected materials and natural clay, with which I am painting.  Australians have a "story" for each god, they are mostly cautionary stories, which have helped to keep the tribes viable. It appears to me as there are various imaginary divinities, however, they were born from the transcultural backdrop. Something interesting is that the rock paintings and figures on it are very similar all around the world, but I am not the type who would study these things in much detail. On the other hand, I deliberately keep certain blindness, to be astonished, and I would recommend this to consumers. Those who ask too much will learn too much.

4) Some rusty images look a bit apocalyptic, did it have any specific impulse?

"Rusty images" are painted by some rusty mud from a forested swamp in West Czech. In fact, they are ferric nano-shells of microorganisms. I discovered this beautiful colour in the '70s, which came back to me now, to extract it artistically. Thematically, they partly follow the cycle of thermo-drawings "Landscapes from Timelessness" or the cycle of graphics "Giants", where the power of nature is personified into supernatural beings. People desire to witness a miracle or other paranormal acts, and we have this advantage that we can also paint them. Also, people are drawn to the aesthetic of natural disasters and the theatre of extinction. Towards the end however, the road took me elsewhere. 

5) When you were in Columbia, did you try yagé -the most renowned shamanic hallucinogen?

I don’t need to check what I suspect. I don't need to meet God. I don't want to upset him. He
could stop passing me.

The interview led Miroslav Ambroz

 



Svätopluk Mikyta / Ornamentiana

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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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