11.10.2017 - 13.01.2018
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.
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.
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
Božetěchova 1, Brno
22/3 – 16/5/2014
Opening: 20/3/2014 at 7pm
Curator: Denisa Kujelová
The Collector's cycle that Fait Gallery prepares in cooperation with other private collectors in the Czech Republic and abroad, offers the possibilityti the public for insight into the private collections that have never yet been made public. In comparison to classic single artisto r group exhibitions, there is of course, a change in the perspective for the viewer and the art works are also able to be perceived in the overal context of collection. For some very large collections there will be, depending in specific situations, selected key works of the collection or there will be selected examples to demonstrate the width of the collector's interest.
The name ONE MOMENT refers to the uniqueness of the moment and at the same time to the frailty of the relatively short period of time when the collections, mainly bought directly from artists' studios and are therefore (except for a very few exceptions) so far unpublished, become published and then again dissapear from the reach of a wider audience.
The story of the first collection belonging to a married couple in Brno and shows virtuous the classical model of collectong on personal level. For the two art loving partners it was crucial to meet a Brno collector who then became their artistic mentor. The profile of this extensive collection, growing for almost four decades is not determined by a period, groups, medium (although it should be appreciated that this is more of classic mediums) or other fixed criteria, although initially there might have been some logical intent.
It's first acquisitions are works of the original members of Group 42, especially Bohumír Matal, František Gross, Jiří Kolář amd Kamil Lhoták, from the seventies, when the collecion of a young couple started. Bohumír Matal, one of the closest family friends of the couple, is especially widely represented in the collection over two decades. Another possible fixed point in the collecton is the representation of numerous members of UB 12, mainly Adriena Šimotová, Alena Kučerová and especially the Janouškovi couple. The large representation of the couple's works of art shows the personal level of relationship they have with the authors and their partners with whom the couple kept and still maintain close frindships that are also incribed by dedications on the reverse of some art pieces.
The collection has been build based on contacts, referrals and visits to studios, especially in the context of Brno, byt visits to Prague studios were no exception as well as acquisitions from abroad. Clearly at it's core are pieces from the seventies and notably the collection continues to the present day, and, although the couple does not have much room, they still follow their passion for collecting and carry on buying art works for their extensive collection.
The selected pieces in this presentation of the couple's collection (anonymous as requested by the owners) were therefore chosen to represent the whole range from initial acquisition to current purchases and to demonstrate the extent of thr mediums ad particular painting, drawing and sculptural approaches collected thus far.