ONDŘEJ HOMOLA / ARANGE

While loosely following in the wake of the previous exhibition, the second part of this overview of the Fait Gallery collection represents, in a certain sense, its opposite. In contrast to the previous instalment, which primarily represented abstract art from the second half of the 20th century, with a focus on geometry and structure, Czech modernism and its resonance and evident influences in contemporary Czech painting, this exhibition directs its attention towards art that places greater emphasis on depicting the real world. Contradicting the artists working in the spirit of geometric abstraction, presenting more universal subject matter, these works are inspired by reality, depicting it more or less explicitly while bringing to the forefront an appreciation of the human figure and its depiction.

It is precisely this fascination with the human body and physicality, manifested either directly or metaphorically through fragments, tools, and situations inextricably intertwined with it, that forms the framework of the exhibition. As such, the exhibition features a number of works reflecting themes such as sport, while at the same time exploring a certain existential decadence as well as aspects of humour within the context of this fascination with the human condition.

Chronologically, we loosely move on to works created predominantly after the year 2000, which is also evidenced by the wider representation of the medium of installation, an example of which is the large-scale work Deep in Enemy Territory by the Rafani Group, one of the group's most extensive projects. The installation fulfils an integral part of the exhibition and, as was already mentioned, comments on a complex psychological situation through the relationship between visual art and the symbolism of sport.

The exhibition follows a predefined selective framework, yet it does not aspire to present an indisputable message regarding a specific issue or topic, a fact that is understandable given its nature. It does, however, seek to showcase the fruits of Fait Gallery and Igor Fait's extensive collecting activities over the past 15 years, to present a series of high-quality works by both Czech and foreign artists, to allow them to come into their own in their individuality and, at the same time, to present the sphere in which these individualities coexist and support each other within a compact whole.

Ondřej Kotrč

Represented artists:

Vasil Artamonov & Alexej Klyuykov, Alžběta Bačíková, Ondřej Basjuk, Nina Beier, Marie Blabolilová, Josef Bolf, Radek Brousil, Jan Brož, Michel Comte, Milena Dopitová, Markéta Filipová, Jiří Franta & David Böhm, Jan Gemrot, Martin Gerboc, Michal Gogora, Damien Hirst, Katarína Hládeková & Ondřej Homola, Katarína Hládeková & Jiří Kovanda, Jakub Hošek, František Hudeček, Matyáš Chochola, Krištof Kintera, Eva Kmentová, Vendula Knopová, Vladimír Kokolia, Jiří Kolář, Eva Koťátková, Ondřej Kotrč, Alena Kotzmannová, Denisa Krausová, Nika Kupyrova, Alicja Kwade, Martin Lukáč, Kamila Maliňáková, Pavla Malinová, Pavel Matyska, Marek Meduna, Jan Merta, Svätopluk Mikyta, Kamila Musilová, Jan Nálevka & Václav Stratil, Pavla Naďová, Petr Nikl, Michal Pěchouček, Ivan Pinkava, Jan Poupě, Skupina Rafani, Tomáš Roubal, Lucia Sceranková, Pavla Sceranková, František Skála, Matěj Smetana, Václav Stratil, Tomáš Svoboda, Robert Šalanda, Adriena Šimotová, Jiří Topínka, Lubomír Typlt, unconductive trash, Kateřina Vincourová, Lenka Vítková

The exhibition Selection from the Fait Gallery Collection II is a sales exhibition and is the last exhibition of Fait Gallery in its current space at Ve Vaňkovce 2.

ONDŘEJ HOMOLA / ARANGE

03.04.2013 - 25.05.2013

Fait Gallery PREVIEW
Dominican Square 10, Brno
3/4 - 25/5/2013
Opening: 2/4/2013 at 6pm
Curator: Martin Nytra

The installation by Ondřej Homola builds on illusory banality and dry humor based on semiotic play with the meanings of similar-sounding words „the arrangement“ and „orange“, creating a prima facie absurd and senseless situation. This relationship results from the emotions and associations that both expressions evoke. The feeling of absurdity is amplified at the idea of neatly composed pyramids of oranges in the greengrocers department, that is actually - in our cultural environment - better known from the movies and shopping during the holidays by the sea, makes this picture as a demonstration of superfluity almost ideal. At the same time it points to the interchangeability of subject and object of an art piece. The exhibition title The Arrangement also relates to this and it deliberately works with the phenomenon of the ideal of beauty by the way of depicting the appropriate ways of adjustment, presentation and construction or deconstruction of concepts. In our case, it refers in particular to modernity and a substantive man's relationship to the object, which attributes the high aesthetic quality, which consequently generates and multiplies by the characteristic way of life of the consumer society, and which thus acquires an existential nature. The individual exhibited artworks interpret the aesthetics and the art language of modernism in relation to the objectives and resources within the context of applied art and promotional art and thus refer generally to the avant-garde role in the transformation of societal values and perception of reality. In the process of deconstruction and construction therefore the means becomes the target. The physical figure breaks down into a 3D and mechanical model that supports the mold, devoid of its the symbolic function, but liberated and imbued with the spirit of the new beauty.

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