Jiří Kovanda

Ten Minutes Earlier

 
Karel Adamus

Minimal Metaphors

 
Tomáš Absolon

RAFA MATA

 
František Skála

TWO YEARS' VACATION

 
Olga Karlíková

At Dawn

 
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



Jiří Kovanda / Ten Minutes Earlier

08.10.2020 - 17.04.2021

Fait Gallery, Ve Vaňkovce 2, Brno

Curator: Denisa Kujelová

Special opening day: October 8, 4 pm–9 pm

 

Jiří Kovanda’s work is typified by several trademark aspects which manifest themselves continuously, from early actions and installations through postmodern drawings and paintings, collages, assemblages and objects of the 1990s to the current interventions, installations and performances: inconspicuousness, efforts at contact, humbleness, simplicity, spontaneity, sensitivity, humour and manipulation with ego.

 

The austere rendering of low-key, almost indiscernible installations and interventions is already apparent in Kovanda’s early actions in which he examined the most elementary possibilities of nonverbal communication. Back in the 1970s, the philosopher and art theorist Petr Rezek pointed out an interesting fact, saying that Kovanda’s actions signified, above all, a desire for contact. At the same time, they are set not to be fulfilled: they were often conceived so that they forced the artist to work with his natural shyness and to go beyond this mental barrier. The participants were placed in unknown situations outside the framework of art, or situations which through their non-diversion from normal behaviour remained invisible for viewers, and were only made visible by their subsequent documentation by means of photography and presentations in gallery contexts.

Photodocumentation was crucial in the next phase of Kovanda’s work in which his physical presence was gradually replaced by mere records of his activity. With installations intervening in private and public environments without the presence of viewers,  photography presented the only possibility of recording the artist’s traces in the form of various objects of daily use and trivial materials installed completely inconspicuously in different places, both outdoors and indoors, also regarding the indiscernibility and ephemerality of these interventions. The artist already articulated his completely natural strategy of creating an unexpected context for an object and leaving a trace of his activity in his early works such as fallen leaves stuck to the ground with a sellotape, wooden wedges inserted between cobblestones and a pile of pine needles and nails in the forest, or interventions in  interiors, for example, a flower pot hidden behind a pillar[1], a string tied around the same pillar two months later and a white string stretched across a room in Kovanda’s home. 

Kovanda’s actions frequently involved banal situations, ordinary activities and mundane tasks that we do automatically, yet acted out in a shifted context. Likewise, in his installations and interventions the artist shifts ordinary, routinely used objects to a completely new, unexpected level by removing them from their original situation and taking away their primary utility function.[2] Thanks to his work in the National Gallery depository[3] Jiří Kovanda first started to use in his installations material related to installation practice in the everyday gallery run, for example strings, paper, glass and wooden wedges. He also employs things of daily use and household objects including foods in his current installations and interventions, along with objects typical of a particular place[4]. Through them he makes a space more visible and defines its individual parts, and thus also slightly manipulatively determines how a particular space and its layout is perceived by viewers and sets a new manner of movement in this space. Jiří Kovanda’s installations are not rooted in an idea of a certain place suitable for or adjustable to a particular work; instead, he executes an idea and the preparation of a situation which is to make up the base of a new project, or of the employment of some of his older works, directly on the spot. This is also the case with the central installation Gold Ring which, perhaps most of all the works on display, prompts a reflection of values, in a metaphorical comparison of a string and a ring, an ordinary thing and an exceptional object. Everything has the same value, all depends on context and interpretation. 

 

A virtual tour of Jiří Kovanda's exhibition - Ten minutes earlier can be found here.



[1] It was a provisional gallery space in Provaznická Street. The basement room of the Odeon publishers where Jan Mlčoch worked from 1978 was originally designed as an archive, and until Mlčoch’s resignation in 1980 was used by three Prague body artists (Karel Miler, Petr Štembera and Jan Mlčoch) as a meeting place. They staged there their own performances as well as those by their close friends, including Jiří Kovanda. 

[2] In this respect, a key role in Kovanda’s art was played by Marcel Duchamp’s exhibition in the Václav Špála Gallery in 1969, prepared by the chief curator Jindřich Chalupecký in collaboration with the Milan art collector, gallery owner and art theorist Arturo Schwarz. 

[3] In 1977 Karel Miler got Kovanda a job in the National Gallery in Prague; he was responsible for a depository housed in the Municipal Library. Kovanda worked there until 1995 when he became an assistant professor at the Academy of Fine Arts, in a studio headed by Vladimír Skrepl.

[4] Not surprisingly, the artist’s installations tend to be confused with ordinary things accidentally left in a space, and as such must be carefully protected from the over-enthusiastic cleaning staff.

 

                                                                                    


READY OR NOT, HERE I COME / SELECTION FROM THE FAIT GALLERY COLLECTION

-

Fait Gallery
Božetěchova Street 1 (entrance from Metodějova Street), Brno
31/5 – 13/11/2014
Opening: 29/5/2014 at 7pm
Curators: Denisa Kujelová & Martin Nytra

 
The painting The Shooting Company of Frans Banning Cocq and Willem van Ruytenburch by Rembrandt Van Rijn from 1642 known as the Night Watch was for most of its existence, covered with a dark varnish and therefore it created the wrong impression of a night scene. The atmosphere of a mysterious meeting of characters with a darkened town like background was actually enhanced by losing the dynamics due to the clipping of the canvas  based on the unfortunate initiative of the Amsterdam councilors. The vanish was removed as late as in the 1940s, which brightened the scene and along with the copy by Geritta Ludens helped to clarify the meaning of the depicted the scene. On 14th September 1975 the painting suffered several cuts by a kitchen knife. A man being driven by a crazy mind perforated the canvas by vigorous assaults in the style of Hans Hartung. He was not the first one nor the last one, who used this art work as a stage for public disclosure with the intention to break the veil of social conventions.

For the entire initial plot and interpretation of an exhibition there are two important topics: the uncovering of layers and an archaeological approach to clarify the cause of our misrepresentive perception and a need to change the reality of things. However, the process of unmasking itself creates a new semantic line of depicting the reality and is a kind of narration in itself, a theater and multi-layered scheme of a sometimes absurd nature. The turmoil caused by a gesture of the revolt is a type of catharsis of the creative spirit and present reality. It is also an event that starts a myth to spread ritually in all different directions. The event of the stage forms the topic of the show, which is reworded by subsequent productions and interpretations.

The stage divides the action on stage from other events beyond its borders, it is a space where  the attention and sensitivity of the stakeholders meet on the level of a different meaning to daily routines. The talent to imagine falls into a private place for both the author and the audience, while language and gestures and symbols fall into the common features of cultural identity. The polarity of the different ways of perception, however, collides with the accelerating rate of received stimuli of a hardly identifiable quality that is typical for the period after the release of freely available technologies spreading the material, which is losing part of its function as a means in a dramaturgically limited performance. The specificity of the subject is replaced by an ambivalent, open figure, rapidly changing as well as non-binding content of the ongoing conversation. The boundaries between stage and audience mingle with indefinite timing into never ending  event.

In these circumstances, the demand for autonomy is a challenging task, as well as the skill to keep focused and a compact constellation of meanings and depiction. The composition of fragments and forms, scenery of day and night, scenes, figures, types of characters. The stage is filled with piles from the depositories props, assemblages, staffage, the thought and may be even unthinkable language games become real, the spirit transforms into a concrete object, the established sign bends. The meaning is taken away, the content is attributed, the grimace and sketches with a serious tone and a sincere consistency are presented. Displayed is what is and has been. The Shooting Company of Captain Frans Banning Cocq and Willem van Ruytenburch finds itself in a difficult, yet magical situation, surrounded by the Surrealism and Dada in practice.

 

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