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
Fait Gallery MEM
Božetěchova Street 1 (entrance from Metodějova Street), Brno
21/9 – 27/10/2012
Opening: 20/9/2012 at 7pm
Curator: Petr Vaňous
Richard Stipl’s work is primarily fulfilling of critical relationship to the genre and what it represents. Genres are not viewed from a distance, with no contact, from a safe distance, but to the contrary. The author himself puts on a mask of a genre to be able to play on of the selected roles. The important thing is to get inside the problem, to places where the first moments of narration occur, the first words of narration, to places where the dead matter changes in subjects and bodies, where it can communicate something.
History of art studied the human body literally from all sides. What else is left to exploit from it today? Probably the same thing, but in a different way. It will not be the cult of physicality, titanic strength and health anymore. It will not even be erotic attraction or metaphor of divinity, the healthy spirit in a healthy body. This version is heretically rejected by Stipl and exacerbates physicality in a different direction, toward repulsion. He explores the expressive range of the face. Anywhere from resting state to states of exaltation and aggression. Gesture deforms. It changes the composition of matter, shortens or lengthens physiognomy, caricatures all seriousness, transforming the face into grimace. There is something very conniving here. Transformation of a human into some kind of a puppet, in a silent actor, in a sad clown or a circus clown. The sadness is multiplied when the composition of bold human dummies executes an ugly ritual. When the limbs are being shortened, the viscera are being exposed and there is blood everywhere. Nudity is not attractive. In the case of Richard Stipl, it is scary. The parody of the genre in put into details, not only in gestures. Head devoid of hair and eyebrows has elongated hybrid eyelashes, sometimes even braided into dreadlocks (Stigma). Elsewhere, the author does not hesitate to separate the head and arms and make them into independent totem-like elements (Ruce), or to place on the head of a statue real denture. Naturalism of most statues stems from used materials: wax and surface polychrome. The author seeks by all means to ensure that the statue does not serve the myth. The more it is obvious the evocation of the fact that it’s impossible to escape from the myth and that we still remain its hostages. Its persistent echoes are seeping through everywhere. It only reveals its reverse, dark side. The mere gesture of closed eyes remains forever full of mysteries and secrets.
If this exhibition is called Pocit konce / Sense of an End, then let’s imagine this “end” more like a repetitive and never-ending Promethean ritual. Recurrent pain, followed by recurrent relief. The desire for definitive death that will never be fulfilled. Genre is breaking down on metaphor. The metaphor is not the death of the genre, even if we wished it thousand times. It is impossible to start again from zero.