12.05.2021 - 14.08.2021
Fait Gallery, Ve Vaňkovce 2, Brno
Curator: Barbora Kundračíková
Opening day: May 12 2021, 5 pm–9 pm
Even today, we still tend to understand a picture as an autonomous entity, a unique, final object which has a life of its own and naturally separates itself from the whole of the world. For that matter, we have spent a long time pursuing this, so it’s all good! However, there exists a close link between picture and word, including the inner ones. They belong to each other by their very nature, yet we seldom stress that the connection should be direct and, especially, generally accessible so that everybody can go through the same gateway. Then, however, there come moments when a picture communicates nothing but solidarity, shared being and one existence when the picture itself not only moves between horizons and transcends them but it is also absorbed by reality. This fully applies to Petr Veselý’s pictures. Their objectivity involves not only the time dimension but also a transcendental one.
Ernst Gombrich writes in his reflection on illusion that the power of interpretation can’t be overestimated, mentioning J. M. W. Turner whom he views as somebody who deliberately and in favour of what he sees suppresses all he knows about the world. Both are also relevant today, as we are moving on the same border of discernibility. Petr, however, turns not to what he can see but to what he can touch.
The moment of touch is magical, a touch has the power to take life and also to restore it. The laying of hands is an ancient ritual, hands radiate warmth and coolness, recognise, and in some cases also heal. The essence is always the same: the expression of craving for the original, the real, for what is genuine and to what we, at least imaginarily, return. Gombrich does that himself when talking about abstracted forms as a phenomenon of western visual culture which is certainly remarkable yet fatefully lacking any assessment rules. In Petr’s case, however, we move on the opposite side of the spectrum; a picture is an abstract, grey form, yet it is permanently striving at figuration, or evolves from it. At the sane time, what is abandoned calls for attention which is equally reversible, and the movement we perform during its recognition is thus cyclic and without memory. Echoes of objectivity are secondary, yet they have rules – and these manifest themselves in this way.
Petr’s work is about constants which regularly come to the fore. This regards both his poetry and what can be termed the natural life of things. As in a truly home environment things do not just appear but exist, they meander in forms and functions and their being has an order which also involves decline, so they are like this in the artist’s pictures, or rather, his pictures are like that. They show what a close link there is between them and the world if we deliberately insert them in the framework of our existence. Matter captivates.
Petr is aware of this, of course, otherwise he wouldn’t put so much effort into the bridging of the gap between reality and its image, between what has come to pass and what we expect. He also likes to enter this space, shaping it and summarizing it. Medieval altars in museums are the relics of other autonomous worlds, and the objects of the ordinary world devoid of their function are also like that. Naturally, this is an expression of reduction, but also concentration and (controlled) absence which, paradoxically, grows stable in its loss and thus resonates all the more its original function and talent. A hand frozen in motion, a shirt stretched in its bend moving from the field to the picture and beyond expresses this perfectly. As Ivan Blecha writes, “a reflection that the restricted position of the observer (…) leads to a restricted presentation of a thing is wrong and the statement about the necessary non-representationality of some aspects of reality, about its permanent distortion, is in fact unreasoned extrapolation.“ A picture is often the only thing left of something that once existed. It is a notch of a knife in a cupboard.
 E. H. Gombrich. Umění a iluze. Studie o psychologii obrazového znázorňování. Praha 2019, p. 235.
 In the last decades the formative task and nature of “things” has also been resumed by the western philosophical tradition, namely by Bruno Latour and object-oriented ontology (OOO).
 Ivan Blecha. Prostory zjevnosti. Dílo ve struktuře světa. Zlín 2018, p. 129.
Katarína Hládeková and Jiří Kovanda
SIAMESE UNCLE & MONTAGE
The unusual format of the exhibitions of the two authors Katarína Hládeková (1984) and Jiří Kovanda (1953), having been prepared in parallel to each other by two curators and in two connected Fait Gallery areas intentionally reflects the possibility of their cooperation in different ways. Whilst being a classically approached exhibition the Siamese Uncle by the curator Pavel Vančát is of an expected retrospective nature disturbed by the mutual paraphrasing created by their existing art works making the identity of the artists mingle and almost merge. The new joint project of the second exhibition Montage, in cooperation with Marika Kupková, does, to the contrary, clearly display the separate roles of the authors and their mutual intersection is defined by the specific concept of video installations.
Denisa Kujelová, Head Curator of the Fait Gallery
Katarína Hládeková and Jiří Kovanda are connected not only by Hládeková’s PhD studies in Ústí nad Labem, but also by a sense of tranquil atmosphere and frequent emphasis on unexpectedly transformed detail. But while the very existence of Kovanda’s art works is always a bit of an unpredictable and uncertain nature, Hládeková is a storytelling perfectionist; while Kovanda is a grandmaster of improvisation, Hládeková, on the other side, constructs whole microuniverses. So how to introduce art works by artists of different generations and also with such different characteristics, connected rather by mutual sympathy and in two connnected exhibitions at once?
Their joint exhibition in Brno takes up a series of Kovanda’s various collaborations with other artists in a radical way: both artists completely give up their solitude and indeed the exclusive authorship of their artworks and allow them to coalesce, but also be seen in stark contrast to one another. The new and old works by both artists do not only communicate together here, but also merge and morph into collective new formations, postscripts and mutual comments. Some of them are a result of a joint debate, others were a unique intervention by one of the authors, and some were created during an improvisation in the gallery space (and some of them were borrowed from Kovanda’s biggest collector, Richard Adam). So Kovanda lets the curator’s car crash into Hládeková’s birthplace, Hládeková counters with a pack of hankerchiefs and a line of cactuses. Inspirations, allusions, contexts and after all the whole exhibiton start to move.
All of this allows us to see the works of both authors through the eyes of only one of them, through the prism of their own method, point of view and their opinion about the world. As if we among their art pieces happen to be again and again in that moment, when the approaching magnets start to repel or attract. This creates a strange Siamese duet of the two artists (and through a wall of two curators), a fun nonverbal dialogue between two generations about different bases, mutual influences and pure joy of the game and surprise, but also a small study about the principles of contemporary art and its elasticity.
Pavel Vančát, RailJet W. A. Mozart, 22. 9. 2015
The video by Katarína Hládeková and Jiří Kovanda, that was created specially for the exhibition, is untitled. That’s why this text is a short reflection of its possible names that could be found for it on the literal level. So. It could be called The Ruins because Jiří Kovanda works with a largely divided photo of a model created by Katarína Hládeková according to the famous painting The Ruins of Holyrood Chapel (1824), which was painted by Louis Daguerre according to his own dioramas. The Ruins can symbolize the final disintegration of the integrity of the original picture, as well as the partial remains of many media forms that are present between Daguerre‘s diorama and the exhibited video.
It could be called Holyrood Chapel as per the place that Daguerre supposedly never visited and whose reconstruction refers to repeatedly mediated pictures which actually do not relate to the reality at all. And that means as to the reality of the Holyrood chapel as well as the reality of its model produced by Katarína Hládeková. The emphasis on locality also points to the author's choice of the attractive sight worthy of postcards from trips or jigsaw puzzle (and once even dioramas).
In accordance with the name of the exhibition the video could be also called the Montage, as it is based upon the variation of the set of constant elements. What is important, however, Kovanda‘s attempts are spontaneous and uncorrected. In the video there are purposefully represented all variants that Jiří Kovanda had tried without selecting the "better" ones or adjusting their order. The purpose was not to make a movie, based on a prepared scenario, but to record the progress of thinking of a performer when handling a source, that he had not selected himself. So the video could be called the Test which was carried out by Katarína Hládeková on Jiří Kovanda and which simultaneously took place at the level of a unique joint work of artists based on the challenge set by the curator. (As well as, Learning or Mastering, which already brings us to the relationship between the two authors on the level of the former teacher and his student.)
It could be also called Patience from the famous card game played by a single player and which has an infinite number of variations. The subject attracting the audience might be the predictability as well as the surprise factor of his acts. Nota Bene, when playing with the cards, let’s say of a familiar cultural and historical nature.