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



Pavla Sceranková & Dušan Zahoranský / Work on the Future

05.06.2019 - 17.08.2019

Fait Gallery, Ve Vaňkovce 2, Brno

Opening: 5. 6. 2019 at 7 pm

Curator: Václav Janoščík

Exhibition architect: David Fesl

 

As if the main contradiction of the present didn’t lie in the very problems we are currently facing, from climate change to the revival of populism and misinterpretation. Perhaps the most serious pitfall of today is our inability to share these problems and fears, as well as values, visions and solutions.

There is a name for our involvement with the world, its building and suffering — it’s simply work. We don’t necessarily have to understand it as an occupation but as a process in which our activities and ideas are given sense and co-shape the world in which we live.

By extension, art is not just the production of exhibitions and artworks; it enters our shared imagination, enriching it with images, visions and criticism. At our exhibition for the Fait Gallery we are trying to open up this process, to invite the viewer closer, to the podium which dominates the gallery space and provides the installations with a joint framework and context.

The platform is modified for art, as well as for work and leisure in the form of a co-working space and two in-built lounges supplemented with chairs from Pavla Sceranková’s previous art projects. The podium-table thus assigns the meaning to the individual installations while at the same time it also invites the audience to enter the process, the cycle of work and leisure giving sense to both works of art and our world.

Pavla Sceranková shows the human situation ruled by the current work culture. In a series of plasticine figurines created by the pupils from an art school (the work is called Klára) she lets us observe the dissolving of shapes and the blending and merging of matter. The number of endangered species becomes a metaphor for the current environmental issues, as well
as for joint and applied work which is inevitably multiplied, affected by social expectations, and still can be shared and useful and mediate values, including aesthetic ones.

Milada, again named after a person devising the particular project and working on it, combines an elastic suit with performance. It invites you to a flexible, enchanting but subjugating part-time life which enfolds you like tight-fitting underwear. In contrast, Miloš, a figure rooted in the gallery podium, seeks a base and anchoring, perhaps even the return to reflections on nature and the corresponding rhythm, harmony and deceleration.

Our presence, be it social time or personal experience, seems to develop in loops intersecting the show, as demonstrated by the Ilja installation. It is not just a suspended loom, the return of working techniques to the space of a former factory, the picking up of the threads of work which was interrupted. It also manifests the cyclic nature of work as such, the circle of knitting and undoing, work and leisure, creation and destruction.

Dušan Zahoranský incorporates in his work the subject of communication. In a series of fake phone calls written on dummy cell phones (Mária), he comments on the overwhelming presence of (online) communication today, as well as on the isolated, private, almost absurd dimension of the possibility of instant communication.

The monumental ring (Libor) encircling the gallery ramp brings to the space office furniture and the issues of the stereotypization and commodification of work, or semiocapitalism. Our work environment and application are often subordinated to phenomena such as open space, home office, flexitime, as well as the necessity to be constantly available on email, mobile phone and social networks. In this way, capitalism does not only appropriate our time and work but also the creation of meaning and sense.

In addition, Zahoranský views critically the idea of a universal, non-specific or fully transparent language. In a series of coloured grids of digital characters, Mirek and Kateřina, he stages a combination of type, communication and digital culture, while in the central installation entitled Dušan he symbolically “stole” the letters “o” from his own email communication.

The artist works in similar fashion with the sharing of films on the popular server uloz.to (Artur series). He cut one minute from each film and uploaded the files again; not only to alter the films circulating among the server users, but also to work further with the “stolen” time. This time appears to represent the negative of work time and circulation, the possibility of hiding (as an artist) and working outside the affective loops of digital communication and the capitalist order.

 

Project was created with financial support of Ministry of Culture of the Czech Republic and
Statutory city of Brno.

                                                                             


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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