06.10.2021 - 08.01.2022
Fait Gallery, Ve Vaňkovce 2, Brno
Curatorial concept: Boris Ondreička
Exhibition architecture: studeny architekti
Opening: 6. 10. 2021, 7 pm
REGISTRATION OF STANO FILKO is arguably the most extensive exhibition of the artist so far (not only in terms of exhibition space, but especially in terms of the number of works), which has the ambition to technically sort and organise a concentrated selection (register) of his works. It intends to do so in order to provide a didactic entry into the thesaurus of the vocabulary and grammar of this versatile artist, to demonstrate the logic of his thinking and means of expression, and also to highlight the astonishing variability of Filko's output on the presently arranged variations of his individual elements.
Although REGISTRATION presents each of his periods and typical positions, it does not claim to be a complete retrospective. Filko's work is still enormously sprawling and diffuse. It needs longer-term research and a definitive comprehensive analysis, to which this project will contribute. REGISTRATION also aims to aid in the reading and understanding of his work by enabling an overview through the lens of the exhibition’s architecture. In addition, it wants to make accessible the biographical and philosophical background of the artist's ideas. REGISTRATION does not perceive Filko as complex and complicated, but as composed and comprehensive.
Project was created with financial support of Ministry of Culture of the Czech Republic and
Statutory city of Brno.
Fait Gallery, Ve Vaňkovce 2, Brno
Opening: 5. 6. 2019 at 7pm
Curator: Domenico de Chirico
“There is virtually no difference between biological and psychic formations. As a plant produces blossoms, so the psyche produces symbols.”
C. G. Jung
Psychoanalysis and Analytical Psychology
The word “syrup” is derived from the Old Arabic sharāb, and its tendency towards taking different forms indicates holiness and mystery as it is inherently typified by blending — a “magic” mixture taken in order to achieve the state of bliss. This concoction is probably emerald green, precious and holy — the Holy Grail has an impenetrable green glow resembling absinth. This life-giving substance also works as a fuel, a life-giving sap presenting the human ego with the most disquieting questions, the most radical illogical codes, i.e. the energy which is the essence of life. A plant originating in this way is not simply a plant; it represents a seed from which forests will grow: paintings, in which the internal response surfacing in all its dialectics of return is manifested. These responses are not generated by emotive internality; they are close to rituals and sense but are shrouded in hints and always in a permanent tension with interstellar phases discernible between a distant leaf and a hand, a close sound and velvet.
According to C. G. Jung, the opposites of the persona and the ego are the inhabitants of the unconscious, aka archetypes. These are defined as the archaic relics of the psyche and as such are present from birth. They are connected with the mythical subjects of the primal spirit, have their own independent energy and initiatory character. They are strongly characterized by magic and emotions so exceptional that they are present in every human being. The Self is an authority rooted in natural forces and represents the inner controlling centre, while the task of the ego is to bring this unity to the light of consciousness so that it could aim at the constant maturing and growth of the personality. The Self changes into creative energy if the ego is devoid of any purpose-oriented thoughts and calculations, and its natural drives are at the same time the carriers of energy and a very high potential of evocation. These drives do not correspond to our individual wishes and will, as the Self requires obedience. With the ego, no contracts apply. The Self represents what is typical of the human being as such, or the essence which can only manifest as a symbol. Symbols constitute a specific language, they are natural and spontaneous forms, which is why they cannot be created.
The function of the archetypes is to give rise to the Self and enable it to shake the trees in the Orchard of promises, to hurt it and thus acquire metaphorical symbols of victory, like resin from
a tree. Igor Hosnedl’s paintings rooted in drawing and employing the archetypes as automatic drawing exist even before the brush is dipped in paint.