David Možný

Blink of an Eye

 
Kristián Németh

Warm Greetings

 
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



REGISTRATION OF STANO FILKO

06.10.2021 - 08.01.2022

Fait Gallery, Ve Vaňkovce 2, Brno

Curatorial concept: Boris Ondreička

Exhibition architecture: studeny architekti

Project coordinator: Denisa Kujelová

Opening: 6. 10. 2021, 7 pm

 

Stanislav (from now on StanoFilko (1937, Veľká Hradná, Czechoslovakia – 2015, Bratislava, Slovakia) remains undoubtedly one of the most important figures of (Czecho-)Slovak art in all of its history. At the same time he is one of our most internationally active artists – whether by participation in important international exhibitions, or by being included in most relevant collections or respect-worthy critical reflection in media. Filko is an inseparable part of parallel chronologies of global art.

His defining, unique position grew from elements of permanence of the most actual, primal and groundbreaking (time). It is specific in complex ideational and formal levels or dimensions. His submersions into sensitivity / spirituality – in a conflictual relationship with mundane contemporaneity and system-oriented (cosmologically-directed) everything (that) is unique. Hence we can read him also as a nonagressive critique of concretion. Filko’s (truly transgenerational) œuvre is also quantitatively excessive and internally most diverse alongside all its coordinates (x-depth, y-width, z-height).

Filko (by his nature “permanently” and “everything” and “most”) can never cease to “have something to tell”.

Even if REGISTER presents every one of his periods and all of his typical artistic positions, it does not seek to manifest a complete retrospective. Filko’s art is perpetually expansive and scattered. It still needs a much longer-term examination and a final “tidying up” (synthesis). A complete analysis, catalogue raisonné, will be difficult to assemble.

That is not the possibility nor the ambition of this project. 

This, perhaps the largest exhibition of Stano Filko’s works to this date, has the ambition of technically sorting and arranging a focused collection (list, register). The extent includes just as the capacity of the Fait Gallery so a number of artworks brought from other sources. Fait Gallery (for example by its height) allows for a presentation of works that have not yet been possible to install. REGISTER for the first time ever exhibits many artworks that have never been made public.

REGISTER wants to be a literal enabling of a didactic entry into the encyclopedia ~ thesaurus of the supply and grammar of this multi-talented artist (listing, registering). It seeks to present logics >> logistics of his thinking, expressive elements and procedures of production and distribution. It assigns the logos (“what”, denominator), graphopathos and nomos (“how”, numerator) in its orientation towards the cosmos (“for what purpose”). It shows the amazing variability of Filko’s performance in presently and spatially organized variants of his particular attributes, sortes.

REGISTER wants to help read and (weightfully also) understand these artworks / this work of art. Already their / its viewing requires the activation of a relatively high amount of awareness (contemplation) and a subsequent combinatorics. Filko lectures in „foreign“ languages, the literal translation of which will not help us. It has to be interpretative and allegorical. Interpretationism means that REGISTER can not shed the form of a commentary.

The curator and the architect are here rather registrars (conservators, record keepers) taking care of the order of the matrices (matrix) of Filko’s already proto-archival grids. REGISTER is a phenomenological / typological and also a methodological approach to his thought, work and language. From this language comes also the production of a family of architectonic, furniture, modular elements / sdk system. Podia, tables, vitrines, stands, shelves... are utility platforms of communication. Even if their material, construction and geometry accord/respond both to Filko’s vocabulary as well as to the Fait gallery, they are not commentaries towards the artists’ work or locale. They seek to be only transparency- and overview-making support, basis. The use of reflective plastic wrap is seeking to neutralise the ambient as much as possible, to the place of useful facticity.

REGISTER is processual. It accents the observation and understanding of the evolution of becoming against the result of being. REGISTER can no longer even be an exhibition of Stano Filko. His (to the location specifically reacting) personal / singular installation of works in situ will remain unimitated. It does not seek to play / simulate HIM, his ark. It doesn’t seek to imitate. But it can legitimately (quasi-archivally) speak ABOUT HIM. So that it is not an “exhibition of Stano Filko”, but an “exhibition about Filko”.

REGISTER aims to secure (in the space, architecture of the exhibition) an overview with a through-view. It wants to make available the diversity of the backgrounds not only of his idea, but also the factical reverses of his works (often as important as their front sides). Here it is possible to speak of a non-linear text-time-spatiality, both in the sense of works themselves as in the progress of his laborious self-museologization (or mythologization), as in the layers of the present REGISTER. It is only the self-museologization that Filko devotes himself to after his return home from emigration = since the beginning of the 1990s until his death. His interpretational self-museologization (recultivation via the means of a linguistic turn) is physically image-shattering. It is, in a way, möbiuous. It redraws, drills through, readjusts. It robustly, even brutally enters into its past. Physiognomically, he (harmoniously) accords to his enormous work. His art is mimetic to him (and vice versa).  Illusory mimesis is the precursory substance of all art. It re-vitalizes. It re-constitutes. It ignores physis and time against conservation – for improvement. He is exceptionally counter-conservative. He considers everything equivalent, referential and linking. He perceives everything as generic of a multivalent one (where from) to a unique one (where to). He remains therefore permanently young until the last of his days. He creates “third” artworks. REGISTER focuses on the whole = Filko’s everything.

Even for the presence of the “third” artwork, the construction of this, automatically polyphonous and multimedia (polymuse) ambient does not apply chronology and avoids periodisation (even though it does not deny their importance in the possible catalogue raisonné).

On one hand, REGISTER concentrates on formal (object-oriented) numerators. On the other hand, on content-oriented / thematic (subject-oriented) denominators. With him, the subject and object (the variables of morphing states) alternate and interweave. Filko finds corresponding material for his expression – versus – in material he finds the expression of his ideas (or epoch…). The exhibition aims to elucidate also the tensions, energetic or logical synapses (strings) and the omnipresent infrastructure between them. From that follow regularities (wireless and wired) of networkings of organizational, hierarchical (infographic, diagrammatic, organigramic) molecules and structures. It seeks to illuminate by attached (parallel) annotations (thesaurus) and spatially / architectonically. It therefore orders the movement, pathways (or fractals) of visitors’ own readings. In Filko, these linkages are not ordered one-by-one, but as crossing-through (literally) = dia-meta- and trans- (through), kinetic cobwebs of the object, image and text (additive and comparative meshwork of versions) and ultra- or hyper- (above). At his, the height is a continuation of the depth = one axis. Somehow rotating diagonal (and crossingcrossroad) is in his works marked in this direction (in all directions, as a quasar).  Just as Filko connects (by paintingdrawingpoints (holes) of stars into constellations and repeats them also via explicit or metaphorical names or amends them by dashed graphemes of trajectories. In his take, even the particularities do cluster together fragment-to-fragment. REGISTER therefore assembles a hybrid foundation of components. It grows from the fact that (for example) the blue coordinate on a map simultaneously belongs to the group (dimension of cosmicblue as to the medium of maps. We can not tear the map apart. The logistics of the arrangement of REGISTER is associative. It is more analytic than synthetic.

REGISTER does not consider Filko complicated and difficult, but as composed and complex in the direction of understanding him in toto.

His essentially created system contains a typologically-oriented (allegoric) sign and object, his color coding (as on, in the object itself, so between juxtaposedly, and becomes an individual artwork in itself) and a kind of masores(notational, interpretative apparatus, also justifiedly autonomous). Filko’s logos and grapho (also pharmakon) name, describe narratively, to come to an acronymical generalization = legislating a suprapersonal sign of validity. From gnosis to dogma. From soul to spirit. His order of the whole (cosmos) resembles periodic tables of elements (thing, name, sign, quantitative expression / number, color, sub-group entry…). This exhibition is an effort to understandably overdub or at least subtitle the individual attributes. REGISTER is a simultaneous (vis-à-vis works of Filko, and with a temporal distance from him physically consecutive) translation of an experimental language of a gematric (and digital) perspective. See the following (in the table of REGISTER the key) chapter – thesaurus (treasury register). Thesaurus has a direct relationship to the didactics of his Transcendental meditation – TEXT ART (paper print, 1980).

Filko draws from a syncresis of mediterranean myth (especially judeo-christian traditionalism with speculations about Slavic paganism…), art history, mas-media reflexion (or mediation) and popular science (especially physics and technology). He is involved in and in an avant-garde way creates a new axonometry of Western (European…) and supra-planetary mysticism – ethos in his seeing. His language is intertwined by individualized versions of archetypal hieroglyphs. For this REGISTER also introduces a number of historical analogies to the possible annales of his thinking and production – on the basis of comparative or metaphorically intuited “something (yet unnamed) and something else (already named)”. References to references.

Flko’s arrangements of principles permanently react to everything actual (overimpulsedness of the heartbeat of the present). He is characterised by an exceptional ability of adaptation or of appropriation of any possible attributes ~ resemblance to itself (some kind of reverse mimesis). Perpetually, he is interested in the correlation between the physical and the metaphysical. On the other hand he concentrates on the relentless material, sourceful (textual...) retrospectiveness of his biography ~ autobiography. His retrospectival reconfiguration denies personal time. Some phases of reconfigurations are dubbed clones in the sense of identi-fiction. According to the clones he heteronymizeshis own ego. He uses his diasphorical self as a mirror of transpositioning (in his sense centre, core) of humanity (including the deep Big-Bang) and in contrast – humanity (and the entire universe) is seen in the concept of “I” or – “I” is donated to humanity. From imagination to the image. That is the mode (or meme) of his specific altruism. At the same time he is looking in front (futuristically) and above (para-theologically and cosmistically) himself. It Is a kind of permanent out-of-body experience or fantasy. And the retroactive redrawing of himself is also defined by a securing of control (reinforcing) of the reading of him (as a totem, for some connoisseurs a cult, even) by others in the future. In a textual ambition for reincarnation, he secures immortality for himself. He leaves behind sufficient coordinates. REGISTER follows (them).

If we speak of a system – his lucid aim is an all-embracing re-normativization with a significant suggestion of extraordinary morality. Re-normativization assumes that it is important to get rid both of sediments (habits, prejudices, doxae) of the previous political reality (learned >> to unlearn). Only in that way we would be able to settle for a (single) true substance, coherence (episteme). So Filko’s work does not accept the difference between the subjective and the objective. Everything is everything in a totalitarian (auto- and cosmocratic) demand (in his faith of truth / truth of faith). Universal truth must traverse the step of the physical state of the universe and socially must shed all moral relativism.

There is probably no place, area or medium (or -ism), with which Stano wouldn’t dedicate himself to. He „painted“ (on) EVERYTHING he had at his disposal.

Filko would like to have the volumes (and scrolls) of his ars magna sorted linearily (as the ladders of Ramon Llulla and Leibniz’s monads and the cabalistic schemes of Isaac Luria or the trees / scales of being of Porphyry of Tyre). But he understood that individual elements (and methods, methodologies) do relate and conjoin, overlap on the basis of gravity, magnetism, sympathies of contents (materials...) and values. He is fully aware that  many of the first words are already composed and have multiple meanings. He knows that there are flexible partial affinities, transient states – what the overall character of the (predatory) contemporary art is... His work does (rhizomatically) concern numerous platforms of his genealogical stump at the same time.

He thus creates (for us a multimodal and modular and multimedia) cosmology of alchemy of an internet of everything. Therefore we must visualize and read him hypertextually, metalinguistically, asymmetrically, synchronously with all elements at once. A possible reading of such an amoeba (or liquid crystal) is possible only by a spatial arrangement.

To take Filko (as how still it is moving in cycles) for a conceptualist is wrong. His work is changing since (generationally) legendary 60s and 70s of the 20th century. And as is mentioned – even by manifestly drawn and through other entries into his inside he morphs precisely that inside. We must speak of him as of a continually contemporary art (or Contemporary art). From a certain angle of view (or a bird’s eye view also enabled by the Fait Gallery capacities) it can be taken for a symptomatic nomisma (or token) of the entire post-war art history (including asides into earlier avant-gardes and a recollecting of classical art), integration of all styles and directions (not giving up on the image of an art style). Even in regard of the use of an entire spectrum of media we could consider it responsible, a flowing representative of all medial strategies after the avant-gardes. Afterwards it creates its own termina technicae, -logies and -isms.

The leading perpendicularity of his iconic systems is an expression of a faith in progress (accelerable evolution), ascension. He names it with a series of energetic plexes, nodes, which he calls chakras (points, frames…). He is holistically (Gestalt) identic inside of a body as in the whole personal living, civilizational struggle, in the entire universe. Just as the sephirahs of a cabalistic tree ~ Adam’s body and their hyperobject emanations.

Filko is elevated above the realms of body and matter. His appendices to the ordinary physical reality (including realpolitik and plebean tempos) are hubristic. For him, people are figures in a three-dimensional game. He objectifies. He sees his position in a similar way to a mise-en-scène – however as a screenwriter and scenographer (logosgraphospharmakontektonarchitecton...). But also as director, CEO, architect. For him Being is not LIKE drama, but IS (disco-postmodern) farce, commerz.

He believes in reincarnation (being re-born). Instinctively >> intuitively >> spiritualistically he thinks about reaching something most noble. It elevates him above our strata. Maybe towards something that Judaism calls Ein sof. His whole life he is preparing for ascension (henosis = becoming one) into a limitless, formless (out-of-form) fluid. He plans and realizes a tour through the goldwhite towards the transparent, the hole… to a nothing of depersonalization, dematerialization. His categorical contemplation does in many ways resemble also (ValentinianGnosticism and carries within pieces of buddhism or nihilism. He is a believer, however it is not possible to note any love towards God expressed or a (“more concrete”) God as such (except for himself, incarnate). His work has rather a different trajectory (similar to the iconoclasm of Judaism or Islam) – people and the world are reduced to geometric schema. Bodies are changed to solids, elements. 

REGISTER (except for minimal exceptions) does seek to avoid psychologization and (distances) and disagreements (except for suggested analogies) or opinions. It wants to be as little personal as possible. It wants (by organized exposition of the collections) to analyze, talk about him without slandering. It wants to care about him. But it is necessary to remark that also Filko’s eminent interest in the cosmos (and everything above the scorned, profaned life) is perhaps an expelled, sublimated anxiety of a regime in which he grows up, from which he (for a while) runs away. Perhaps also even from a country which was always a bit too small for him (therefore not for its totalitarian regime). That could be aligned with similarly tuned horizons of thought of his more distant (towards Mlynarčík, Laky, Zavarský) and (it can be said) directly politically-oriented colleagues Július Koller or Rudolf Sikora. He collaborates with them on the manifestos Time I (1973) and II (1974).

REGISTER is therefore also our masores of Filko’s masores of his individual works and his indivisible œuvre. As is stated here numerous times – the artist’s final activities are aimed at re-creation, integration of a single artwork from all of them per se (magnum opuspar excellence. This concerns also his merz-bau atelier-object on Snežienková street in Bratislava and his intended final ark in Veľká Hradná = his birthplace.

Brevity is necessary for the requirement of manageable communicativeness (user-friendliness) of this enormous phenomenological, typological, methodological volume. REGISTER considers the intelligibility of interpretation as key to translation >> understanding of the work of Stano Filko (in the detail, individual artworks and) as a whole. A series of lectures and programme will be the accompaniment of the spatial solution-arrangement.   

REGISTER is an expression of absolute respect towards Filko’s demand for “everything” and therefore can not be meant as a completed work. It is one of the phases (maybe) of an infinite relay of research of artworks and works of Stano Filko by many.

 

Translation: Lukáš Makovický

 

Project was created with financial support of Ministry of Culture of the Czech Republic and
Statutory city of Brno.

                                                                                        


JAKUB HOŠEK / CHAOS IS ORDER NOT YET UNDERSTOOD

-

Fait Gallery PREVIEW
Dominican Square 10, Brno
18. 3. - 30. 4. 2015
Opening: 17. 3. 2015 at 6pm
Curator: Lumír Nykl

 
„Why do so many new abstractions look the same?" - Jerry Saltz, critic and theorist
 
„He is known to absorb all the flyers, album covers, blogs ... and then he gets it all out of himself in the studio" - Jan Lesák, visual artist, photographer
 
„I have already said to Hošek that the most beautiful thing on the exhibition was the radiator." - Karel Císař, theorist and curator
 
„Eight golden rings as if I was Shab-Shabba Ranks" - Darold Ferguson Jr., rapper and singer
 
Chaos is order yet undeciphered" - that is the introducing sentence of Denise Villeneuve’s movie Enemy. This fits very well to the description of the contemporary art and the exhibition of Jakub Hošek.
The compulsive need to find the cipher to his work hangs in a shared gallery climate every time, the fragments of shapes (either texts or pictures), he has impounded, leave the comfort zone of their original carrier. The characters then occupy space stretched beyond the reserved dimensions and levels of meaning.
In the "auteur" movie Enemy Denis Villeneuve develops the idea of ​​Alfred Hitchcock, which touches film and imitation in general - „If you meet your lookalike, you should kill him." The promise of understanding to the well arranged order in a chaotic web of symbols in Enemy is subject to (self-) destructive, (self-) identification of the identical lookalike. In the case of Jakub Hošek this ambiguous relationship can be seen mainly on the level of the key process of transferring carved drawing templates to a canvas otherwise processed as a "painting". As an implication the key drawings give the final object a possibility to be created thanks to their distruction. The free ride on the hanging painting is what makes the three-dimensional object what it is. These characteristics of used techniques and media Jakub Hošek uses as a theme since the time of study at the Academy of Fine Arts in the studio of V. Skrepl and J. Kovanda. The exhibition in the FAIT GALLERY PREVIEW takes place before his residency at the National Museum of Modern and Contemporary Art in Seoul and subsequent scholarship in Tabačka Kulturfabrik – a cultural center in the eastern Slovakian town of Kosice.
 
In the movie Enemy we do not find out whether both of the lookalikes have a scar in the same place. The order to the chaos of their resemblances is brought by a sore imprint of a ring worn by only one of them.
The understanding is a mutual, time-consuming process compared to the privileged, distant decryption. When you decrypt the object it is subordinate to the colonizing hunter of the meaning. In the act of understanding the viewer and the image have a similar relationship to that seen between drawing and painting in Jakub Hošek’s work, between the flat painting and the three-dimensional object, between a sign and an ornament. As people say: we usually start to understand the text once we stop following it.
The flat hanging painting changes in the three-dimensional box. The cutter is thus connected by a brush stroke. The ring serves as a boxer. Acrylic tattoos the canvas.
The change is possible as long as the term period is replaced by a simple piece of information edited in the social networks.
 
The described characteristics of the Jakub Hošek’s art work explain the meaning of overlaping of the first and the second/the chaos and the order. The assumptions of his work can be compared to a specially conceived process of superimposition - covering of an already existing image by another. Jakub Hošek acknowledges this method by a conscious reference to this word in an otherwise unusual plural - Superimpositions, which is the title of the new album by the experimental electronic producer Lorenzo Senni.
The critic Alexander Iadarola (Quietus, dismagazine, Rhizome) notes Senni‘s sinister aspect of the superimposition. "Whereas with palimpsests one can see the traces of previous writers' markings as they're written the effaced over, with a superimposition there's no trace, no hint of what was before". The area of ​​design and fine arts have already overlaped a long time ago at least in the consensual label of the artwork - "a piece". In the global arts community the term piece is as popular as the term "track" within the club music scene. Piece sounds equally expressive and convincing, especially considering the nature of Hošek‘s images.
 
In the well arranged area of a white showroom a value of one piece corresponds with the value of another one. This isomorphic relationship is also characteristic for objects - forms on the picture - between them. The uniformity also establishes the relationship of the shown forms towards their physical carrier. Of a final piece and the cardboard models, sentenced to the fate of being waste material. The exhibition, understood in the general sense of exposing the objects to human view, actually begins and ends with a gallery shop window, where the residual cardboard represents a sort of preview of the author's main method, metaphorically also a preview of his studio and portfolio. We can remember his exhibition in Ostrava Industrial Gallery in 2013 and the installation solution of adjusting the preparatory drawings on paper to the level of works on canvas. But especially here  resonates his well-known project called Let me rule in Jiří Švestka Gallery, where the studio  chaos was scenographically transferred and copied in the ratio of one to one.
 
Style known from Let me rule dominates even in the (...) previously unrecognised order. Recognisable style that can be conveniently described by the familiar English word creepy.
Parts of cut hands are touching crooked, jagged, almost "crossed" wasters of the original shapes. Swollen and frayed tissue that has lost prosthetic drawing, are chaotically crawling over each other and seeking support in the precisely made and graduated surface. The degrees of the surface are being given to us in one lot and as tightly as barbed wire allows.
The paintings by Jakub Hošek behave like an evil twin and hurt even what is depict.
The quotations do not refer to the source, the cutter works as it should only at the final stopper.
The blending of the shapes is always an intersection at first, no form passes through the another one unscathed.
Hošek‘s often attributed comic abbreviation is associated with the image of the latent immobilisation of animated film sequences, where the chaos of a pair of images is moved to the proper movement by a human agent. He takes on the form of the hands, eyes, or a false frame as a trickish, crippled lookalike. And if he is not destroyed in the logic of Hitchcock’s quoted aphorism, he is trying to move the current viewer to understand and protect him.
  
Against what? Perhaps against the diffusion of the wild culture, ie unframed areas, "which do not have any denotation", as we are informed by the Bourriaudious Daily application. Adverse uncomfortable sensations and our memories jump at us from Jakub Hošek’s picture as spam, and a creepy adware ad:
"Eat this and you will never want to paint again. The doctors call this the cutter for the art. "
 
Lumír Nykl
 

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