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



Jan Merta / Return

21.02.2018 - 05.05.2018

Fait Gallery

Ve Vaňkovce 2, Brno
Vernissage: 21.2.2018 at 7 pm
Curators: Denisa Kujelová & Jiří Zahrádka

Return is the movement of the Tao, yielding

is the way of the Tao. Ten thousand things

in All Under Heaven are born of what there is.

What there is is born of what there isn’t.

In a distinctive visual style rooted in his personal memory, Jan Merta transforms real-world subjects into specific projections of his own experiences. This unusually sincere approach is in its intensity and truthfulness towards the viewer remarkably transferrable and communicative. In most cases, the artist chooses as the subject matter of his paintngs, drawings and objects things and situations on the edge of ordinary attention that, however, are personally highly important for him. By removing them from their original context and by their free processing he fills them with new contents. The pure essence of seemingly ordinary objects demonstrated on a monumental scale with the use of unconventional; spatial structures provides Merta’s paintings with a strange tension, which is in some works even intensified by the refined employment of light and the atypically approached relationship between object and area when an accentuated background creates an illusory perspective.

All of Jan Merta’s works have their own raison d’etre in particular stories, and his art is so closely linked with personal experiences that it could be understood as the artist’s diary records of events, experiences, memories and reminiscences of people, objects and places. Every new painting is for him a return in thoughts, and it is therefore hardly surprising that he has chosen this word for the exhibition title. However, it should be viewed at several levels of meaning: apart from the tite of a sculpture, the motif of return also refers to the show itself, organised in exhibition rooms to which Jan Merta returns with his new project after eight years. First and foremost, it refers to regular returns to the artist’s key theme circles, as well as to particular motifs which are, nonetheless, always approached in a different way.

Within the Return exhibition, sections such as Liberec are important; the artist returns in it to the places associated with his childhood and has worked on it, on and off, for several years, as is the subject of civilization threats and cultural codes as homage to Old Masters and specific works of art. One example is Goya’s painting Third of May 1808 (1814) from which Merta borrowed the motif of a lamp. The lamp as a source of light is a vital element of the picture, not only in its form but also in its content, and Merta has utilised it several times. Last but not least, the exhibition presents works referring to the artist’s penchant for Eastern philosophy. In 2010 and 2013 Jan Merta designed the book Laozi translated by Oldřich Král, and his close friendship with this extraordinary figure reinforced his interest in Chinese philosophy. In the Fait Gallery exhibition project this leading sinologist agreed to incorporate into the LAOZI installation his sound recording of the book accompanied by Merta;s paintings with fragments of cups and saucers. These symbolize clay vessels: according to the teaching of the Tao, the meaning and purpose of their internal parts only come from emptiness.

                                                                   


LENKA VÍTKOVÁ / THE BODY´S ANSWERS TO THE QUESTIONS OF FLOWERS

-

Fait Gallery MEM
Božetěchova Street 1 (entrance from Metodějova Street), Brno
22/11/2014 – 15/1/2015
Opening: 20/11/2014 at 7pm
Curator: Jan Zálešák

 
The Body’s answers to the questions of Flowers is a paraphrase of the verse "The body's answers to the questions of landscape" that is the start of one of the poems included in the collection of Short summer processes by Petr Kabeš.  The exhibition's title reminds us of the existence of continuous ongoing dialogue happening on a preconscious or "out of conscious" level: before we are able to realise, or even critically reflect, we have always already, somehow related to the world, and it is through the "interface" of our body that we do this. Painting arises precisely at this interface, which is also one of the reasons, why it does not lose anything in the recency and the intensity with which it can speak to us, although it has been repeatedly neglected in recent decades.
 
In the MEM gallery Lenka Vítková presents works from the a recent period (the first paintings were started in late summer, some are only a few weeks old). In the exhibiton the paintings of flowers take turns with figural paintings which repeat the same female figure theme, bent at the waist so that the hands are touching the ground. The center of gravity of the bent body moves down and forward, closer to the ground. Unlikely to be a dancing figure, a special exercise? Head facing down and pelvis pushed forward: the body is shown free of any symbolism, additionally it stands on "all four". However the animality of this position is not in any way degrading. Moreover Lenka Vítková adds to the figures a certain grandeur by the method of applying colour (she emphasises the vertical brush strokes more strongly than detailed modeling). The silhouettes of bent bodies do not carry any story, they speak to us by "the body language" - the same language they answer to the flowers, which the author paints with the same austerity, but with an even stronger passion for colour. The colour palette seems too intense at first glance  - all the shades of green, blue and purple, placed in solid lumps, side by side may start to look like a colour card. But, in the end, isn’t each flower with large petals the same fascinating color card of tones and valeurs?
 
Flowers and bodies without faces. They are objects to be viewed, but they do not look back at us. It is different with a pair of heads. They disturb the continuity of the dialogue that lead paintings on the walls between them. They turn directly at us and therefore give the dialogue a different direction. Maybe it's the dark shadows hiding the eyes that tears apart the conventional scheme of painting exhibitions, in which the audience view reflects from the surface of the wall with hanging paintings. The view of the hidden eyes goes out of the surface, towards me and enables me to realise that my own body is a living thing within the space.
 
The paintings are born in moments of privacy, in which the mind almost splits up and it‘s particles remain together with pigments firmly fixed to the surface of the painting. They are the result of a quiet conversation and speak to us as well – they let us see, through their surface, something that would otherwise remain hidden inside the human body as in a locked box.
 
Jan Zálešák
 

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