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



Milan Grygar / LIGHT, SOUND, MOTION

24.01.2017 - 29.07.2017

Fait Gallery
Ve Vaňkovce 2, Brno
8. 3. 2017 - 29. 7. 2017
Vernissage: 8. 3. 2017
Curator: Denisa Kujelová
 
“I am sure, that there are correlations in the world, the sound is connected to the visual and also the visual doesn’t exist without the acoustic.”

Milan Grygar has been exploring the specific concept of relations between visual and acoustic in very diverse and often contradictory parallels for more than five decades. The fact that in the context of the Czech art scene Grygar is absolutely remarkable, is influenced by his interest in experimental music and the follow up of the development of international inter media tendencies based in the contemporary avant-garde music (beside the system of free atonality of Arnold Schoenberg, we can mention the Notation of New Music by Erhard Karkoschka and the aleatoric concept of John Cage).

With regard to other artists experimenting with the new music and its alternative graphic notations, Grygar`s work was defined mainly by the possibility of correlations of acoustic and visual components which determine each other. In the case of Milan Grygar, sound is not tied to the artwork just by associations based on synesthesia (however it is possible to think about his work in this way, without any interpretative framework) and it is also not a completely autonomous element. It is a completely unique principle in art, when the acoustic perception gets a fuller emphasis when creating the artwork in such a sophisticated way that the picture becomes actually retrospectively an instruction, a transcription of how to read it once more, but on the acoustic level this time.

By trying to clarify the process itself and the direction of motion, he additionally discovered (with the help of tape and video recording) the hidden potential of this twofold connection. This dual dimensionality of visual and acoustic he later completed with the actual recording of the work process. He connected all three levels through mutual time unity and to a simple visual expressive power of the art piece. He, thanks to the sound, added the possibility to define the space and by adding the option to also record the process at the time.
 
The phenomenon of sound has permanently been present in Grygar’s art work since the mid-60s, when the artist, after focusing fully on the medium of drawing, systematically started to examine it and to record it. The sound, at the beginning defined by a series of individual strokes issued by specific instruments, became an unusual parabola to the visual rhythm. After a series of drawings and paintings with wooden sticks, and acoustic drawings, with the help of other typical tools, he developed polyphonic possibilities of drawing gestures, especially with the help of mechanical self-propelled machines. For those living drawings, as well as in other drawings with a performative character, especially tactile, there is a huge influence of the chance, which, while probably trying for the closest connection of visual and audio elements, he replaces his own will by more objective, not dependent factors. However, the element of presumptive chance is firmly controlled and determined by the artist himself.

In consequent repetition of drawn syntactic formula of the square grid in other types of drawings so called audiplastic and black and white and white and black canvases with linear grids, the sound is shown in different ways, that violate the monotony of structure either by a change of the rhythm, colour or by adding some other drawing element. The acoustic quality of Grygar‘s drawings within modern musical notation is more noticeable in his ranks of formulas and scores. These were, no doubt, created with the idea of a specific audio result. The possibility of interpretation is also open and the presence of the artist at the musical interpretations is absolutely vital.
 
After more than twenty years, the artist returned to painting a series of black paintings with colored linear elements based on the contrast of monochrome surfaces and sharp, complementarily coloured lines of fixed light.The very large and also very diverse series of Antiphons is created by minimalistic geometrical shapes and subtle lines, which are gradually accentuated with colour. However, the use of bold colours can be dated back to the 60s when the artist created the original models for Spatial scores that were produced in monumental scale almost half-century later. A radical shift occurs in the newest work, where Milan Grygar steps back from the variety of colour and returns to the using of a piece of wood to create a series of large scale drawings and paintings.
 
T: Denisa Kujelová
 
 
                                                               


PAVLA SCERANKOVÁ / THE OLD LIGHT IN THE GALAXIES DEPARTMENT

-

Fait Gallery MEM
Božetěchova Street 1 (entrance from Metodějova Street), Brno
27/9 – 13/11/2014
Opening: 25/9/2014 at 7pm
Curator: Jan Zálešák

How many things that surround us do we really understand? But we can still use them, touch them, speak to them, put them into motion. This deep, while unconscious understanding that seems to be inscribed in the motions and that is build by motions, touches and gestures, takes an important place in the work of Pavla Sceranková.

In the early stages of her career, Pavla Sceranková was searching for ways to "animate" - how to depict  or categorize movement - while remaining in the area of sculpture or object creation. An example result of this search are the objects from the cycle Memory as  a new reality (2006). A slightly different approach has been used in a more recent series of objects Yes or No (2010). Items that we well know as silent partners in our rooms and kitchens (lamp, porcelain dinner service) seem to explode in front of us, but just before the fractions have managed to fly in all directions, someone pressed the PAUSE button. In addition to works in which the motion remains only a kind of unfinished option Sceranková also creates sculptures and objects, that the audience can touch, and therefore they can not only by looking, but also by moving update the contents that are placed in them.
The installation in the Fait Gallery MEM is loosely based on the author's exhibitions Woman on the Moon (Old Town Hall GHMP, 2013) and Constellation (Atrium MG in Brno, 2013). In both she was searching for ways to expand the dimensions of the viewer's experience and understanding tied to personal and physical experience of a metaphorical move in the universe. Great and for the vast majority of people a truly unimaginable size of the world "out there" in these exhibitions formed a counterpoint to the "small" human experience again based in "small", familiar subjects.
The form of the installation in the MEM gallery was significantly influenced by meetings with Dr. Bruno Jungwiert from the Galaxies department at the Astronomical Institute of the Czech Academy of Sciences. Discussions with an expert  on the dynamics and the evolution of galaxies brought Pavla Sceranková to a key theme of the exhibition, which is the collision of galaxies. In order to appreciate the drama of this event, we must be able to think in scales and in time periods that almost exceed our imagination. If the human observer was inside such a collision, he would not, because of the vast distances between (potentially) conflicting elements, notice anything at all.
This paradox intrigued the author and the desire to let the audience literally enter into the colliding structures became the starting point in the design of the exhibition. The symbolic move into intergalactic space is, on the material level of the installations, connected with the intimate space of the kitchen or the dining room - the space, which, aside from the already somehow outdated cultural stereotype characterising it as a purely female area, is primarily a family space, a space of harmony, but also an arena of conflicts and battles. If we put a piece of saucer or pot mounted to the end of the rotatable structure into motion, we risk a real crash and also animate a model of the universe. Therefore there is a crash of not  only incommensurable formats, but also incommensurable time dimensions. The human time in which we are born, die, fall in love and hold deep hate is, in the context of "space-time" of a galactic collision, completely worthless. But maybe the opposite is also true, when a scientific version of the absolute crumbles under emotions, that may be put into a motion by a piece of rotating kitschy chinoiserie...
 
Jan Zálešák 

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