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



CS CONCEPTUAL ART OF THE 70s

11.10.2017 - 13.01.2018

Fait Gallery
Ve Vaňkovce 2, Brno
11. 10. 2017 - 13. 1. 2018
Opening: 11. 10. 2017 at 19:00
Curators: Beata Jablonská, Denisa Kujelová and Jana Písaříková

The arrival of conceptual art in the early 1970s was associated with the shift of interest from aesthetic and material qualities of artworks towards personal, social, historical and often also theoreticizing contexts. In contrast to the art scene in the West, the conceptual approach of artists in Czechoslovakia was motivated by a more personal search for the essence of the relationship between artist and art, at the artistic level as well as the political-ethical, social or even ecological level. The turn towards conceptual art was thus not viewed as dematerialization and iconoclastic efforts but, rather, as a utopian escape from the official, state-controlled culture. It provided the artists with a free space which they worked with a wide range of media and subjects. 

The exhibition “CS CONCEPTUAL ART OF THE 70s” charts the trends that were first distinctly employed in the art of ideas, records of projects and actions in the late 1960s and faded in the early 1980s. It presents different forms of conceptual work with drawing and photography, conceptual art exploring the relationship between type and image, and also futurological, action and environmental projects.

The exhibition observes, through its interconnected themes, the closeness of the Czech and Slovak art scenes that have been approached, since the breakup of Czechoslovakia, as two separate entities. The exhibition concept is rooted in a quest for their intersections and joint points of departure. Never in the history of Czech and Slovak art was the need for a mutual dialogue cultivated and developed as much as in the 1970s.

WORD AND SIGN AS A CONCEPTUAL MESSAGE

While concrete poetry of the 1960s reduced the semantic component of language to a minimum, the 1970s saw the return to its meaning. Words were placed in contrast with other types of communication in the form of pictograms, pictorial symbols and numerals, which resulted in a tension between different types of representations.

MUSICAL SCORES

Graphic music with its formalized language came to the fore in the 1970s. Visual and acoustic art was produced both by musicians active in the field of new music and artists who observed the visual order and the semantic potential of musical scores.

GEOMETRY, ORDER AND ITS DISRUPTION

Under the influence of conceptual art, the geometry of the body, space, area and form grew more sensitive and started to involve aspects placed by the modernist order outside its boundaries. It became a platform for interventions challenging the distinctive nature of geometrical compositions, the relationship between order and randomness, while being enriched with a social, anthropological and political dimension. 

ART AS A RECORD AND EXPERIENCE OF EXISTENCE, PERSONAL RITUALS, INTROSPECTION

Reflections of everyday activities and gestures, perception of their stereotypical nature and escape from it in the form of ritual and through the intense experience of one’s existence. Reflections of a person’s immediate surroundings and the passing of time.

REFERENCES TO THE RUSSIAN AVANT-GARDE, CONCEPTUALIZATION OF PAINTING, DRAWING AND POINT ZERO OF A PICTURE

Search for the point zero of a picture, a moment when the invisible becomes visible. The picture medium refers to itself, to its area, colour and matter. It makes its elementary properties present or, conversely, induces their gradual dematerialization. Frequent references to the black square, an important symbol of the Russian avant-garde, to the belief that the art experience leads to a more intense perception of reality.

PROJECTS, MANUALS, INSTRUCTIONS, OBSERVATIONS AND COSMOLOGY

The emancipation efforts of art in the sense of exploiting scientific and rational thinking are, to a certain degree, subversive as they apply a pseudo-scientific language even to the phenomena of a personal, spiritual and transcendental character. The artists were inspired and fascinated by scientific progress, by the language of natural sciences and statistics.

NATURE AS A MEDIUM, EXPLORATION OF THE LAWS OF PHYSICS, NATURE AND ZEN BUDDHISM, EPHEMERAL MATERIAL DEMONSTRATIONS, ENVIRONMENTAL SUBJECTS

The natural environment as a place where one can hide from the estranged and impersonal urban space, a territory beyond the state’s control, a place suitable for art activities. Many of them echoed ecological and ethical issues that were frequent subjects of unofficial discussions and meetings.

CARTOGRAPHY AS AN INSTRUMENT OF RECORDING A PERSONAL JOURNEY

Artists appropriated the rationalizing language of topological drafts, plans and maps, and through them made visible phenomena and spatial relations that cannot otherwise be mediated to the human perception. They emphasise the objective and factual aspect of real phenomena; at the same time, they lend validity to those that have a utopian character.

ARTISTS’ BOOKS

In the 1970s, artists’ books became alternatives for gallery and exhibition rooms. With the post medium, they were among the key ways of mediating and distributing conceptual art. In addition, many artists pushed through their work the very limits of the definition of books. They created books-objects, accentuated the haptic qualities of paper and the principles of browsing, and made the reading process complicated. Conceptual art of the 1970s was often the subject of personal communication between the artist and the recipient, or a group of friends.

QUOTATIONS, INTERPRETATIONS, APPROPRIATIONS

Interest in the analysis of the art medium, its intellectual reflection. The hierarchy between original and copy was disrupted in favour of the concept of art as a changing structure open to interpretations. The majority of artworks produced as quotations are actually visual reflections on the functioning and continuity of art and its lasting values.

 

Artists represented at the exhibition: Milan Adamčiak, Karel Adamus, Vladimír Ambroz, Peter Bartoš, Juraj Bartusz, Ján Budaj, Pavel Büchler, Robert Cyprich, Hugo Demartini, Milan Dobeš, Ľubomír Ďurček, Rudolf Fila, Stano Filko, Daniel Fischer, Peter Graham, Milan Grygar, Sonny Halas, Olaf Hanel, Vladimír Havlík, Vladimír Havrilla, Pavel Holouš, Dalibor Chatrný, Jozef Jankovič, Ivan Kafka, Olga Karlíková, Michal Kern, Martin Klimeš, Svatopluk Klimeš, Milan Knížák, J. H. Kocman, Július Koller, Vladimír Kordoš, Inge Kosková, Jan Kotík, Jiří Kovanda, Milan Kozelka, Miloš Laky, Milan Lasota, Dáša Lasotová, Otis Laubert, Milan Maur, Juraj Meliš, Karel Miler, Jan Mlčoch, Alex Mlynárčik, Marian Mudroch, Eduard Ovčáček, Květa Pacovská, Marian Palla, Vladimír Popovič, Pavel Rudolf, Tomáš Ruller, Jan Ságl, Zorka Ságlová, Rudolf Sikora, Jan Steklík, Miloš Šejn, Petr Ševčík, Petr Štembera, Ivan Štěpán, Margita Titlová Ylovsky, Monogramista T.D/Dezider Tóth, Jiří Valoch, Jan Wojnar, Ján Zavarský, Jana Želibská

Architecture: Oldřich Morys
Production: Lucie Domorádová
Installation: Gabriela Rampáčková, Tomáš Rada, Ondřej Kotrč, Martin Nytra, Eliška Mikšová, Maroš Belák, Dita Dvořáková, Nela Klajbanová, Zuzana Mrštinová, Kryštof Ambrůz

 

                                                                


TOMÁŠ BÁRTA / THINGS YOU CAN´T DELETE

-

Fait Gallery MEM
Božetěchova Street 1 (entrance from Metodějova Street), Brno
23/11/2013 – 16/1/2014
Opening: 21/11/2013 at 7pm
Curator: Jiří Ptáček
 
Fait Gallery has given Tomáš Bárta space MEM exactly one year after the arrangement of his solo exhibition Softcore. During this time however Bárta went through a period of major review of his actual means of expression. Softcore was concluded with paintings, where he openly joined the modernist aesthetic. This was followed by simplifying the complicated abstract tangles and formulation of plainer geometric designs, which started to reflect the inspiration by descriptive geometry, ancient order and constructivism. The emphasis on painting as a derivative of the past turned Bárta's attention to archaeological metaphors that are actually applied in methods of layering, penetrating and revealing.
 
The curator of Softcore exhibition, Jan Zálešák, in the text toSoftcore exhibition correctly emphasized the gradual "sedimentation" and "a move in aslow-growing set of elements" in the artistic development of Tomáš Bárta. One year later, in front of new pictures, we can say that they are the most radical turning point in the author's production so far, but we can also note that Bárta’s production has not left the territory he had previously explored. While the exhibiton At some point, in the moment of a strange flash, I wake up and change the direction of my fall in the Gallery Down in Ostrava during the spring of this year, captured the crystallisation of Bárta's new artistic opinion, in the collection of middle size formats from Things You Can‘n Delete we can already see a developed spectrum of new themes and techniques. The driving factor in these works is Bárta‘s selfawareness of his own roots in the modernistic tradition. At the same time the fragmented layouts of picture compositions started to integrate. On the new paintings therefore the same principle repeats over and over again - the structural priming influences the form of the surface coating and the whole composition completed by a dominant feature in the foreground.
 
Jan Zálešák related the characteristics of Bárta’s development to the period after graduating from the Faculty of Fine Arts in Brno. Preimage of his present production is to be found in the distant past - the last two to three years of study in the painting studio of Petr Kvíčala. That was when Bárta first transmuted his inspiration by building constuctions, protoarchitecture and remains of building activity in concise abstract morphology. And that's when a  "dominant element", a "material body" appeared in this paintings, from which the whole picture is developed or to which the rest of the picture aims. Pictures from Things You Can‘t Delete are, in this respect, Bárta’s first return to this source, although included in new contexts.
 
The name of the exhibition encounters the content of collective and personal memory in Bárta's work. There are things that can not be erased, which can not be avoided and to which we always return. It's not always a matter of will. French psychoanalyst Jacques Lacan distinguished between the object of desire and the cause of desire. His interpreter Slavoj Žižek described this distinction as follows: "While the object of the desire is simply an object that we desire, the cause of the desire is a specific feature, for which we desire this object (a detail which we usually are not aware of and sometimes we even see it as a barrier, as the characteristic,despite which we desire the object)." In the pictures from Things You Can‘t Delete we surprisingly find rather the cause of desire than it‘s objects. The point is not so much in the themes of bars and sailyards or methods of layering and scratching but rather in the features and details that make him to paint these themes this way - again, repeatedly and moving forward by returning.
 
Jiří Ptáček

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