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



Milan Grygar / LIGHT, SOUND, MOTION

24.01.2017 - 29.07.2017

Fait Gallery
Ve Vaňkovce 2, Brno
8. 3. 2017 - 29. 7. 2017
Vernissage: 8. 3. 2017
Curator: Denisa Kujelová
 
“I am sure, that there are correlations in the world, the sound is connected to the visual and also the visual doesn’t exist without the acoustic.”

Milan Grygar has been exploring the specific concept of relations between visual and acoustic in very diverse and often contradictory parallels for more than five decades. The fact that in the context of the Czech art scene Grygar is absolutely remarkable, is influenced by his interest in experimental music and the follow up of the development of international inter media tendencies based in the contemporary avant-garde music (beside the system of free atonality of Arnold Schoenberg, we can mention the Notation of New Music by Erhard Karkoschka and the aleatoric concept of John Cage).

With regard to other artists experimenting with the new music and its alternative graphic notations, Grygar`s work was defined mainly by the possibility of correlations of acoustic and visual components which determine each other. In the case of Milan Grygar, sound is not tied to the artwork just by associations based on synesthesia (however it is possible to think about his work in this way, without any interpretative framework) and it is also not a completely autonomous element. It is a completely unique principle in art, when the acoustic perception gets a fuller emphasis when creating the artwork in such a sophisticated way that the picture becomes actually retrospectively an instruction, a transcription of how to read it once more, but on the acoustic level this time.

By trying to clarify the process itself and the direction of motion, he additionally discovered (with the help of tape and video recording) the hidden potential of this twofold connection. This dual dimensionality of visual and acoustic he later completed with the actual recording of the work process. He connected all three levels through mutual time unity and to a simple visual expressive power of the art piece. He, thanks to the sound, added the possibility to define the space and by adding the option to also record the process at the time.
 
The phenomenon of sound has permanently been present in Grygar’s art work since the mid-60s, when the artist, after focusing fully on the medium of drawing, systematically started to examine it and to record it. The sound, at the beginning defined by a series of individual strokes issued by specific instruments, became an unusual parabola to the visual rhythm. After a series of drawings and paintings with wooden sticks, and acoustic drawings, with the help of other typical tools, he developed polyphonic possibilities of drawing gestures, especially with the help of mechanical self-propelled machines. For those living drawings, as well as in other drawings with a performative character, especially tactile, there is a huge influence of the chance, which, while probably trying for the closest connection of visual and audio elements, he replaces his own will by more objective, not dependent factors. However, the element of presumptive chance is firmly controlled and determined by the artist himself.

In consequent repetition of drawn syntactic formula of the square grid in other types of drawings so called audiplastic and black and white and white and black canvases with linear grids, the sound is shown in different ways, that violate the monotony of structure either by a change of the rhythm, colour or by adding some other drawing element. The acoustic quality of Grygar‘s drawings within modern musical notation is more noticeable in his ranks of formulas and scores. These were, no doubt, created with the idea of a specific audio result. The possibility of interpretation is also open and the presence of the artist at the musical interpretations is absolutely vital.
 
After more than twenty years, the artist returned to painting a series of black paintings with colored linear elements based on the contrast of monochrome surfaces and sharp, complementarily coloured lines of fixed light.The very large and also very diverse series of Antiphons is created by minimalistic geometrical shapes and subtle lines, which are gradually accentuated with colour. However, the use of bold colours can be dated back to the 60s when the artist created the original models for Spatial scores that were produced in monumental scale almost half-century later. A radical shift occurs in the newest work, where Milan Grygar steps back from the variety of colour and returns to the using of a piece of wood to create a series of large scale drawings and paintings.
 
T: Denisa Kujelová
 
 
                                                               


Katarína Hládeková a Jiří Kovanda / SIAMESE UNCLE & MONTAGE

-

Fait Gallery & Fait Gallery MEM
Božetěchova 1, Brno
3. 10. - 19. 11. 2015
Opening: 1. 10. 2015 at 7pm
Curator of exhibition Siamese uncle: Pavel Vančát
Curator of exhibition Montage: Marika Kupková
Technical support: Ivan Svoboda
Photographer: Marek Mičánek
 

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

Siamese Uncle

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

Montage

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.

Marika Kupková  

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