19.10.2022 - 14.01.2023
Fait Gallery, Ve Vaňkovce 2, Brno
Curators: Denisa Kujelová, Ondřej Navrátil and Jana Písaříková
Opening: 19 October 2022, 7 pm
Following the Sun was undoubtedly one of the key points of Milan Maur's work. This radical action, documented by an unclosed circle on a map and accompanied by the text on 9 May 1983 I followed the sun from dawn to dusk, anticipated his future direction as an artist. In the course of the 1980s, Maur developed in the Czech milieu unique conceptual practice based on the observation of minute natural sequences and events. This was not, however, a “desk-job” investigation at a safe distance from the observed subject but in situ research, requiring physical involvement and vigilant attention close to meditation. Specific examples include the artist’s numerical series documenting the autumn falling of leaves of various species of trees over several days, or his shadow images in which he recorded shadow shifts throughout the day at given intervals. This individual research was certainly also a personal ritual and self-preservation method of the artist's survival in totalitarian Czechoslovakia of the 1980s.
The first part of the exhibition presents works that convey the artist's natural science interests and at the same time seek to answer the following question: what is actually behind all this endless swarming of nature? Is it a coincidence or another level of order? And is it possible to unravel its system, to relate to it, or to identify with it? We thus enter a world of thought that hasn’t lost its relevance even after all these years but opens up to us further and new meanings in the times of climate crisis and a search for a way out of the solitary confinement of anthropocentrism and its blindness, deafness and arrogance.
By the mid-1990s, Maur's work seemed to have reached its end. However, the feeling that this was one of those short-lived careers is quickly suppressed by the further parts of the exhibition. The extensive body of photographs from the period after the turn of the millennium is linked to his earlier work primarily by a conceptual strategy of recording the environment that works with the principle of a predefined creative process, more exactly, with the experimental adjustment of the optics of a sophisticated Hasselblad camera. The titles of the cycles testify that they were created during expeditions to distant lands, which on the one hand echoes the several-month-long pilgrimages of Maur's youth and on the other introduces us to the new life situation of the artist, who in the 1990s went from being an outsider and a night watchman in the Plzeň cemetery to a successful entrepreneur and an enthusiastic traveller.
An essential part of the exhibition is a new installation related to the artist's recent experience in a hospital environment - a place where every person becomes a constantly controlled and measured subject in the gears of a fixed order. Here, Maur returns to and approaches his own body as concretely as possible. Whereas until now we have only suspected the artist’s external and internal sentiments behind informative and poetic notes in the margins of the paper (...I was tracing the shadow of a pear tree...), we now see the outlines of his body, captured by his son on a hospital bed, and for the first time ever he himself becomes the subject of the record - in an attempt to record the very fragility of human existence and the potentiality of its end. Milan Maur's drawings, photographs and installations can thus be understood as a record of a sequence through which a particular event is singled out from an otherwise cyclic universe. This might be the world, the universe, nature, or a person’s existence.
Fait Gallery MEM, Ve Vaňkovce 2, Brno
Curator: Marie Štindlová
Opening: 19 October 2022, 7 pm
Mother and son are travelling on foot to Vienna. On the way they cook, wash, look, show each other things. Sometimes it's difficult, their hands are of stone. The steps are verses and the march is a prayer for healthy relationships. Without losing their humour, they are trying to shake off the layers of patriarchal sediment settled on their arms, hearts, family and landscape.
The title of the exhibition Daddy_rough_and_reduced_final_ok refers in its form and structure to the names of documents stored in the digital environment in a number of variants (rough/final, reduced/hd etc.). Video is therefore the central element of the exhibition. The thematization of the medium and its structure (its disruption) is reflected in the way the artist approaches it. She works with ruptures and distortions which she uses to create similar cracks in stereotypical notions of clearly defined gender roles. She explores them both gently and with a mischievous smile. At the same time, however, she looks with utter seriousness for ways of how to heal patriarchy and masculinity in our time.
The film shows the artist and her teenage son navigating a landscape associated with a family and historical trauma. By experiencing the landscape together and performing certain activities, they seek to heal it, as well as themselves. They encode a desire for renewal and transformation into ordinary gestures of survival and care. The process is complicated by the stone structures embedded in their bodies which make quick movements, fine motoric skills and mutual touching impossible. The pilgrims are hoping that with every kilometre they will leave behind a past that may no longer be part of them, that the stones on their hands will turn to clay and water and they will be able to knead them into different shapes: soft, pliable, yet firm.
Cooking their favourite food, mother and son feed the surrounding gorges. Flowers are guides, together with the son they tell the story of the search for his role. The stream bubbles up and washes away everything unnecessary.
Acknowledgement / Collaboration:
Photography: Maria Lopatyuk, Matěj Nytra, Katarina Kadijević
Sound: Jonatan Pastirčák, Tomáš Dvořák, Kateřina Koutná
Costumes: Kristýna Nytrová
Exhibition design: Martin Nytra
Kanikuly march: Lucie Králíková, Hana Kubešová