01.06.2022 - 30.07.2022
Fait Gallery, Ve Vaňkovce 2, Brno
Curators: Denisa Kujelová and Jiří Ptáček
Opening: 1. 6. 2022, 7 pm
In the exhibition project of the versatile visual artist Petr Nikl, his creative approaches intertwine in a vast imaginative garden - a kind of ecosystem of moving and seemingly static organisms cultivated by the artist, but at the same time partially self-grown, much to his delight.
Petr Nikl is one of the few Czech artists who need little introduction to the cultural public. Almost everyone will remember some of his exhibitions, a painting, drawing or print, an exhibition project he initiated, a music recording, a concert, a theatre play or a performance or, for example, a book for adults and children he wrote and illustrated. However, it is not this multi-faceted and decades-long presence of Petr Nikl in our cultural space that makes him an unmistakeable and a rather unique figure. Indeed, this presence would not be worth talking about and would be just mindless hyperactivity were it not characterized by the imaginative poetics with which the artist draws us into a fascinating space of fantasy and play.
If we were to sum up what Nikl communicates to his viewers and listeners, it would probably be a non-violently subversive impact on the consensus of dignified and pragmatic adulthood which creates a wall of restrictions and a hard-to-fulfil desire to break it, and Nikl's ability to indicate, through the outcomes of his work, a path towards the fuller experiencing of the multi-layered and mysterious nature of existence that spreads underneath the veneer of the mundane and the superficial absorption of reality.
Nikl co-founded his puppet theatre company Mehedaha as early as 1985. At that time, he was a student at the Academy of Fine Arts in Prague where intermedia fusions or performative forms in visual art were not discussed and taught. In accordance with the ideas of the cultural nomenclature of the period about clearly defined fields for the individual artistic disciplines, they were not even considered potentially enriching.However, he soon found kindred spirits among the members of the Tvrdohlaví art group which made its first public appearance in 1987, with understanding not only for artistic activity but also for self-realization in music and theatre. Yet only in Nikl’s case involving the wide spectrum of image, sound, language and body did it become the basis of all creative activities.
Like the performances of Nikl's plays where his visual sensitivity is strongly applied, many of his art projects are determined by the performative and procedural aspects of art. This is by no means limited to paintings which are executed by mechanical machines with the artist's assistance, often in the presence of the audience. This is also true, for example, of his recent works on paper in which he explores new possibilities by dipping rolls of paper in paint in anticipation of (again) only partially predictable results. Randomness and spontaneity help the artist to cross the horizon of his own imagination and provide him with the possibility of wonder at the resulting image. They are not far from Nikl’s drawing method in which his skill taps unconscious sources and the drawing is thus "let" grow out of contents which otherwise remain inaccessible. In them, too, Nikl is merely a participant who does not have a hundred-percent control over what kind of treasure his mind and hands will bring.
The exhibition in the Fait Gallery is rooted in the metaphor of a flower bed. While a garden is associated with a branching cultural symbolism, the flower bed as its sub-component is only a kind of working subject. Under normal circumstances it is cultivated and maintained in a state where it serves well the greater whole or a given purpose which, depending on the intentions of the grower, is either ornamental or utilitarian. A flower bed that is not weeded and consequently wild is a sign of neglect, while care is characterized by a high degree of restriction and control over what can take place in this demarcated area. In contrast, Peter Nikl lets his imaginary flower beds overgrow in anticipation of the unsuspected and surprising. For him, they are not what he carefully prepares and then follows a plan but a combined activity of plants, soil, sunshine, rain, insects, earthworms, moles and other elements that enter into the process. The flower beds - not dissimilar to stretched canvases or sheets of paper because of their limits - are thus filled with actions that we can only partially observe. And anticipate even less.
Thanks to this, they can turn into fascinating revelations which, through their self-organization and somewhat "disorganized organization" take us beyond (or "under") an objective and clear understanding of reality, to its massive organicity and complexity that is never fully graspable. And yet, this "big" takes place in the encounter with something as "small"... as a flower bed, a drawing or a painted image.
Text: Jiří Ptáček
Fait Gallery MEM
Ve Vaňkovce 2, Brno
Vernissage: 21.2.2018 at 7 pm
Curator: Jan Zálešák
“It’s a man’s world,” James Brown sang fifty years ago, a world of strong men who give and take, and to which the ultimate sense is only given by a woman’s love. I realise that I inadvertently experienced the slow decline of this world as a boy and later as a teenager when watching TV series with David Hasselhoff. Detective Michael Knight, the hero of the Knight Rider series, became Mitch Buchannon, a Baywatch lifeguard chief, self-confident on the beach but a failure at home. The truth is that the images of the crisis of the western man flashing between the slow-motion takes of luscious female lifeguards seemed as unreal to me in the post-socialist universe of the 1990s as KITT the talking car.
When discussing the exhibition with Peter Puklus and Radek Brousil, we didn’t talk about these TV series. However, I’m sure they had watched them as well, at least occasionally, and found in them the prefigurations of manhood that they were later forced to reassess and throw away, along with many other men who no longer feel part of the “man’s world”. I want to believe that this world is steadily declining, yet its images, perpetuated on and on, still dominate the imagination of most people. With this exhibition centred around counter-hegemonic images of manhood Brousil and Puklus enter an imaginary battlefield. Raising questions about the nature of the modern man, which is the leitmotiv of the show, is general on the one hand, while on the other it is anchored in the personal experience of the artists.
They were both born in 1980, and their work is rooted in the photographic medium, without being bound by conventions of what a photograph is and what it should look like. They learnt about each other through an artists’ residence centre in Banská Štiavnica, and a certain fascination with the similarity of their work – which at some moments had an air of them being each other’s creative double – has culminated in a joint exhibition in the Mem gallery. This, however, also brought to light distinct differences between the artists: while Radek Brousil seeks the most up-to-date language for his works, Péter Puklus has long focused on the fine-tuning of his own idiolect.
The exhibition entitled briefly Stupid can be viewed as a double introspection developed in a dialogue. Specific experience and attitudes, particular concerns, uncertainties and desires are transformed into symbolic contents that are more universal and leave space for an empathetic identification. In a divided world in which listening to others seems more difficult than flying to the Moon, the understanding born of empathy appears to be the highest purpose of art.