12.05.2021 - 14.08.2021
Fait Gallery, Ve Vaňkovce 2, Brno
Curator: Barbora Kundračíková
Opening day: May 12 2021, 5 pm–9 pm
Even today, we still tend to understand a picture as an autonomous entity, a unique, final object which has a life of its own and naturally separates itself from the whole of the world. For that matter, we have spent a long time pursuing this, so it’s all good! However, there exists a close link between picture and word, including the inner ones. They belong to each other by their very nature, yet we seldom stress that the connection should be direct and, especially, generally accessible so that everybody can go through the same gateway. Then, however, there come moments when a picture communicates nothing but solidarity, shared being and one existence when the picture itself not only moves between horizons and transcends them but it is also absorbed by reality. This fully applies to Petr Veselý’s pictures. Their objectivity involves not only the time dimension but also a transcendental one.
Ernst Gombrich writes in his reflection on illusion that the power of interpretation can’t be overestimated, mentioning J. M. W. Turner whom he views as somebody who deliberately and in favour of what he sees suppresses all he knows about the world. Both are also relevant today, as we are moving on the same border of discernibility. Petr, however, turns not to what he can see but to what he can touch.
The moment of touch is magical, a touch has the power to take life and also to restore it. The laying of hands is an ancient ritual, hands radiate warmth and coolness, recognise, and in some cases also heal. The essence is always the same: the expression of craving for the original, the real, for what is genuine and to what we, at least imaginarily, return. Gombrich does that himself when talking about abstracted forms as a phenomenon of western visual culture which is certainly remarkable yet fatefully lacking any assessment rules. In Petr’s case, however, we move on the opposite side of the spectrum; a picture is an abstract, grey form, yet it is permanently striving at figuration, or evolves from it. At the sane time, what is abandoned calls for attention which is equally reversible, and the movement we perform during its recognition is thus cyclic and without memory. Echoes of objectivity are secondary, yet they have rules – and these manifest themselves in this way.
Petr’s work is about constants which regularly come to the fore. This regards both his poetry and what can be termed the natural life of things. As in a truly home environment things do not just appear but exist, they meander in forms and functions and their being has an order which also involves decline, so they are like this in the artist’s pictures, or rather, his pictures are like that. They show what a close link there is between them and the world if we deliberately insert them in the framework of our existence. Matter captivates.
Petr is aware of this, of course, otherwise he wouldn’t put so much effort into the bridging of the gap between reality and its image, between what has come to pass and what we expect. He also likes to enter this space, shaping it and summarizing it. Medieval altars in museums are the relics of other autonomous worlds, and the objects of the ordinary world devoid of their function are also like that. Naturally, this is an expression of reduction, but also concentration and (controlled) absence which, paradoxically, grows stable in its loss and thus resonates all the more its original function and talent. A hand frozen in motion, a shirt stretched in its bend moving from the field to the picture and beyond expresses this perfectly. As Ivan Blecha writes, “a reflection that the restricted position of the observer (…) leads to a restricted presentation of a thing is wrong and the statement about the necessary non-representationality of some aspects of reality, about its permanent distortion, is in fact unreasoned extrapolation.“ A picture is often the only thing left of something that once existed. It is a notch of a knife in a cupboard.
 E. H. Gombrich. Umění a iluze. Studie o psychologii obrazového znázorňování. Praha 2019, p. 235.
 In the last decades the formative task and nature of “things” has also been resumed by the western philosophical tradition, namely by Bruno Latour and object-oriented ontology (OOO).
 Ivan Blecha. Prostory zjevnosti. Dílo ve struktuře světa. Zlín 2018, p. 129.
Fait Gallery PREVIEW
Dominican Square 10, Brno
7/5 – 20/6/2014
Opening: 6/5/2014 at 6pm
Guest: Martin Baar
Curator: Martin Mazanec
The shell of the machine controlled unfolding of the exhibition space with book with black pages. The exhibition The Source by Veronika Vlková and Jan Šrámek exists based on a series of cooperative exhibitions, which was an assembling of the painting, models and blending of their form and content. The cooperation, which brings gradual merging of individual styles is within individual exhibitions conditioned by the topic, that affects also the process and dynamics of the ativity.
The exhibitions It does not have to dawn on straight away (Školská Gallery, Prague 2012) and The Lost perspective (Chodovská fortress, Prague 2012) based the outer shell on the mythological story, which was part of the animated video and a particular publication. A couple of exhibitions The Magic of forgetfulness (Blansko Gallery, 2013) and You get what you can carry (Nau Gallery, Prague 2013) again based their skeleton on a mythical story of an air crash at the Crimea, where the main hero, hidden under his own story, was Joseph Beuys. While the first two exhibitions were based on a parable about a girl living in a post-apocalyptic landscape and a main format was animation and a book, the story that was loosely paraphrasing the confession an artist was a gallery illustration consisting of a mosaic of watercolors, computer illustrations, objects and animations covering a broad range of symbolic and cultural themes.
The recovery of the figures from watercolors and drawings, was in previous exhibitions done through their animation and editing, that was done in cooperation with Martin Búřil. The current exhibition on the other side is intended to work mostly with the reality of the time experienced whilst visiting the exhibition. The exhibition leads to thoughts about the momentum of pictures that are static, but also moving freely in the environment of their own previously undefined landscape.
Projections in the centre of the space is a constantly changing image that will never be the same. Therefore the gallery is metaphorically changed into a board game, which can be accessed from the pages of the black book, through the projection or the absurd motion of objects measuring the "gallery time." There is an inspiration to discover the experienced space, to it´s literal and even purely literary permeability based on the presence of the borders of the exhibition itself.
Words from a book, paintings on the wall and onomatopoeic robotics of mechanisms revive the contents of the exhibition, which is not defined in advance, but is "derived" through the archetypes of literary genres and symbols. The exhibition The Source with Martin Baar as a guest opens another topic for Veronika Vlková nd Jan Šrámek. For the first time this is not a joint exhibition in the meaning of combinations or sub-assembly of individual artistic works, but the process of joint exhibition articulation.