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



Jan Nálevka / And now let’s finally turn the page

23.05.2018 - 04.08.2018

Fait Gallery, Ve Vaňkovce 2, Brno

opening: 23. 5. 2018 at 7 pm

curator: Jiří Ptáček
exhibition architect: Tomáš Džadoň
 

A grid becomes a symbol of organisation in the most general sense of the word, a kind of order of things, and at a symbolic level also a world order. 

- Jan Nálevka

The A4 format paper is the most widespread kind of paper in both households and offices. We use it to print ordinary documents, for photocopying, notes and sketches. It is also used for the printing of formal court decisions, meals of the day in cheap restaurants and university theses, as it is the only format with which one can be sure that the diploma work will be bound in covers imitating leather as late as an hour before the deadline. Files for this size are available from any stationery shop, and millions of sheets pile up in millions of metres of office archives. Text editors now offer the digital version of A4… The standardized A4 format is guaranteed by the ISO 216 international standard for paper of the A, B and C categories. The first attempts at standardisation go back to France during the Revolution in the late 18th century. The main advantage of this proportion of sides is the simple division in halves after which the sheets retain the same proportion of sides. The major benefit of the adoption and dissemination of the standard was its compatibility and coordination of the manufacture of a whole spectrum of products. Nowadays, when you ask someone to picture a “common sheet of paper”, they will most probably visualize paper of the A4 format. 

When lining A4 sheets, Jan Nálevka adjusts the drawing to the standard. He opts for a neutral handwriting, and steps back as an artist. He uses blue ballpoint pens in order to emphasise office work where the compliance with prescribed administration procedures is essential. Reams of paper covered in lines and square grids are virtually indiscernible from mass-produced prints. And since Nálevka further segments the paper with lines and square grids, while in fact still preparing it for writing and drawing, he can talk about the creation of “standardised blankness”, a blankness achieved through work. Its volume, as well as the time it requires, are not proportionate to the result. However, in their reflection there is always space to realise the absurd nature of this activity. Nálevka’s drawings can thus be considered implicitly critical, yet at a more general level they are abstract visualizations of an order introduced into art, or into a work activity as such. And in its ultimate form, the segmented A4 paper format is a symbolic representative of standards predestining our factual possibilities, shaping our perception and behaviour, and providing a basis for our imagination in the private and social dimension of life. 

The And now, finally, let’s finally turn the page exhibition can be understood as a public audit due to which the material that in the previous decade had progressively emerged at preliminary, autonomous and semi-autonomous presentations was gathered in a single place. And although the show exclusively presents drawings from the years 2009—2018, it captures Nálevka’s thinking concerning the external conditions of the organisation of human life. It is divided into three basic sections. The first one observes the subjects of the basic organisation plan and “standardised blankness” as the consequences of the adopted  art-work load. In the second section, the issue of the time invested in the drawings, and lost, comes to the fore. Finally, in the last section Nálevka abandons the point of view of an individual and with plans drawn over reproductions of books on modernist art comments on the historical and possible future social orders. 

 

                                                                      


KAMILA ZEMKOVÁ / THE DEAD SPOTS

-

Fait Gallery PREVIEW
Dominican Square 10, Brno
3/9 – 10/10/2014
Opening: 2/9/2014 at 6pm
Curator: Martin Nytra

The Dead Spots

The work of Kamila Zemková is based on significant interdependence of the personality of the author with her  artistic expression, that is characterised by its tendency towards the formal stylization of diary entries. Her continuing interest in situations and tasks experienced in daily reality and inconspicious relationships of the close surroundings stands at the same time for searching of areas dominated by ambiguity and banality. These characteristics are no less charming because of their openness and closeness that enable the artist and her audiences a wide spectrum of approaches and understanding of the art work. The author thus creates conditions for work based on personal experience from close listening to the noteless impressions of the surrounding landscape and the acquisition of this experience through awareness of the subjective territory of her perception and her own imagination. Zemková avoids to name things and aims towards specific, easily understandable meanings. She puts greater emphasis on the imagination of the mind and the emotional level of the perception of the art work. Paradoxically, however, her latest work is relatively specific, conceptually coherent and its realistic design might enable the audience to read the shortcuts to the understanding. Neverthless in my oppinion it would be a mistake to see the peculiarity of the models as an indicator of their final status.

The important fact, that the whole set of pictures processes the views into the interior of the close environment where the author lives and works, is a significant truth, which in the showing of the art works in the space of the gallery creates another possible interpretation or consideration level about the nature of the art works as well as the exhibition as a whole. We usually accept the gallery space free from traces of previous exhibitions, which creates a framework for migrant artistic personalities, with no objections. The interior of the gallery, that is temporarily occupied by the artist is also a space that, for limited time, turns the artist into a showpiece revealed to the public eye. The interior is seen as a zone of intimacy and home as an environment of spiritual and emotional qualities. In the case of Kamila Zemková the questions pointing to the nature of the situation of the exhibition might be important. With regard to the conscious dialogue with worlds of internal and external nature and her unusually personal approach, the situation can be understood as a reflection about  the relationship of intimacy, which includes the ability of personal experience and imagination to its high public profile and shared features because of which we keep exposing ourselves to this kind of situation.

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