Petr Nikl

Wild Flowerbeds

 
Lukáš Jasanský - Martin Polák

Sir's Hunting Ground

 
Lenka Vítková

First book of emblems

 
Inge Kosková

Flow

 
David Možný

Blink of an Eye

 
Kristián Németh

Warm Greetings

 
Jiří Kovanda

Ten Minutes Earlier

 
Karel Adamus

Minimal Metaphors

 
Tomáš Absolon

RAFA MATA

 
František Skála

TWO YEARS' VACATION

 
Olga Karlíková

At Dawn

 
Pavla Sceranková & Dušan Zahoranský

Work on the Future

 
Selection from the Fait Gallery Collection

ECHO

 
Vladimír Kokolia

The Essential Kokolia

 
Alena Kotzmannová & Q:

The Last Footprint / Seconds Before…

 
Nika Kupyrova

No More Mr Nice Guy

 
Markéta Othová

1990–2018

 
Valentýna Janů

Salty Mascara

 
Jan Merta

Return

 
Radek Brousil & Peter Puklus

Stupid

 
Milan Grygar

LIGHT, SOUND, MOTION

 
Svätopluk Mikyta

Ornamentiana

 
Denisa Lehocká

Luno 550

 
Eva Rybářová

KURT HERMES

 
Christian Weidner a Lukas Kaufmann

ERASE/REWIND

 
Markéta Magidová

TERTIUM NON DATUR

 
Tomáš Bárta

EXTERNAL SETUP

 
Václav Stratil

LANDSCAPES

 
Ondřej Kotrč

TOO LATE FOR DARKNESS

 
Kateřina Vincourová

"WHENEVER YOU SAY."

 
Jiří Franta & David Böhm

BLIND MAN’S DREAM

 
Ewa & Jacek Doroszenko

EXERCISES OF LISTENING

 
Jan Poupě

SET OF VIEWS

 
Peter Demek

STATUS

 
Josef Achrer

BACKSTORIES

 
Radek Brousil

HANDS CLASPED

 
Katarína Hládeková and Jiří Kovanda

SIAMESE UNCLE & MONTAGE

 
Jiří Valoch

WORDS

 
František Skála

TRIBAL

 
Jiří Franta and Ondřej Homola

A BLIND MASTER AND A LIMPING MONK

 
Alžběta Bačíková and Martina Smutná

CARPE DIEM

 
THE SELECTION FROM THE FAIT GALLERY COLLECTION

THE FRAGMENTS OF SETS / THE SELECTION FROM THE FAIT GALLERY COLLECTION

 
Tomáš Absolon

MONET ON MY MIND

 
Kamila Zemková

THE DEAD SPOTS

 
Johana Pošová

WET WET

 
Ivan Pinkava

[ANTROPOLOGY]

 
SELECTION FROM THE FAIT GALLERY COLLECTION

READY OR NOT, HERE I COME

 
Veronika Vlková & Jan Šrámek

THE SOURCE

 
Jan Brož

SSSSSS

 
ONE MOMENT / PART ONE: PRIVATE COLLECTION FROM BRNO

COLLECTOR'S CYCLE OF IMPORTANT PRIVATE COLLECTIONS

 
Alice Nikitinová

IT WOULDN'T BE POINTLESS TO

 
Ondřej Basjuk

THE CULT EXHIBITION

 
Tomáš Bárta

THINGS YOU CAN´T DELETE

 
HE SELECTION FROM THE FAIT GALLERY COLLECTION

FOR MANY DIFFERENT EARS

 
Katarína Hládeková

TO START THE FIRE

 
Marek Meduna

AMONG THE DOG THIEFS

 
THE SELECTION FROM THE FAIT GALLERY COLLECTION

WORDS AMONG SHAPES / SHAPES AMONG NAMES

 
Lukas Thaler

THE PROPELLER

 
Krištof Kintera

Hollywoodoo!

 
Ondřej Homola

ARANGE

 
THE SELECTION FROM THE FAIT GALLERY COLLECTION FOCUSED ON THE YOUNGEST GENERATION

TETRADEKAGON

 
Tomáš Bárta

SOFTCORE

 
Richard Stipl

SENSE OF AN END

 
Lubomír Typlt

THEY WON'T ESCAPE FAR

 
Kateřina Vincourová

THE PRESENCE AS
A TRILL

 
SELECTION FROM THE FAIT GALLERY COLLECTION

OPEN

 
Christian Weidner
/ Vincent Bauer
/ Cornelia Lein

HERE AND
SOMEWHERE
ELSE

 
The selection from the FAIT GALLERY collection

THE SELECTION
FROM THE
COLLECTION

 
Alena Kotzmannová
/ Jan Šerých

A CHI-
LIAGON



Petr Nikl / Wild Flowerbeds

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      

                                                                                             


JOHANA POŠOVÁ / WET WET

-

Fait Gallery PREVIEW
Dominican Square 10, Brno
25/6 – 28/8/2014
Opening: 24/6/2014 at 6pm
Curator: Martin Nytra

The work of Johana Pošová has in the last three years gradually transformed from the classical way of composing a scene in front of the camera into a form, when the automatic mechanism that stands as a virtual filter between the intention of the author, and the resulting artifact is almost eliminated and replaced with a photogram, a technique that physically examines the means of light and a gradual layering of the material on the surface of the recording medium. There is however a fundamental difference compared to the traditional photogram. The authenticity of the print of an existing object is just a false impression. The mean of the illusion becomes again a display of photos and textures of materials printed on tracing paper and their subsequent exposure. The fragments of found photos of crop circles on one of the exposed photograms correspond with the phenomena of light, whose short duration adds rhythm to an otherwise monothematic shadow of the darkroom. The possibility of presence of a UFO in addition underlines the fundamental feature of Johana Pošová´s work, that is a co-work of  mysterious and rational phenomena. This relationship is most evident in a series of smaller formats, which the author coloured in the dark and without visual control. The audience is thus drawn into a game, with a confused story line, that oscillates between reality and pure fantasy. That is something that persists in the autor´s approach despite the change of formal base lines.

The title of the exhibition is a play with words as well. The meaning of the words, but also their rhythm, timbre of sound, and their repetitive layering are important clues to deciphering the principles of individual artifacts, and also of the whole exhibition. A wet thing is a result of the contact of a solid object with a liquid substance – a material that is characterized by its fluidity and floating. The liquid may dissolve the solid object after all, same way as a photograph spreads into new imaginary shapes and becomes independent of reality. The layering of characters and symbols, mixing of textures, fragments and fractions of broken down depiction in a liquid process of changes is similar to visual poetry and a source of many associations. Only silhouettes of the objective world remain. Skinned skin, kimono and a flying carpet are forms that act as archetypes of a thousand years old civilization, but their content constantly moves, melts, is empts out and is filled again.

Weaving, that has appeared in the author´s work only recently, can be understood as a replacement of the camera for the hands of a weaver, who ties individual fibers into yarn and layers it into the prepared texture, a point, that forms the final visual impression. That is, indeed, an imperfect copy of the reality of the eye, but filtration of the  author as a living person gives to the reality a qualitatively different value. Traditional photography and handicraft weaving stand in contrast to each other, both technically and semantically. However Johana uses their mutual relationship, by which they on the other hand support each other in the way she uses both media to deconstruct their original meanings, which could be characterized as their "inventive misuse."

In all these examples we see the duality of rationally and technically controlled production of objects versus physical gesture with signs of uncertainty, which interrupts their integrity. While this is predominant in the author´s works, we can still feel the hidden presence of a contrast, with which the gesture, often in a disharmonic way, fights. But we also face the question of whether the element from the nature is also natural for the environment of technology that we are used to understanding as unoriginal and unahuthentic.

Go back