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 & Fait Gallery MEM
Božetěchova Street 1 (entrance from Metodějova Street), Brno
7/12/2012 – 26/1/2013
Opening: 6/12/2012 at 7pm
The work of Tomáš Bárta is firmly anchored in the tradition of modernist painting, the interpretation of which we have learned to use a simple structuralist metaphor: the images are texts of its kind. Unlike the painter, the writer has far more freedom, is not limited by the range of existing vocabulary or syntax rules. He can “re-invent” his language and rules for its use again and again. In practice, this idea of the painter as a demiurge is limited in several aspects: first, not even the experiments in painting can avoid the limitations by conventions; moreover, there is a particularly persistent awareness of everything that has already been done in this field for the last hundred years. Eventually, the painter doesn’t direct himself towards an entirely new language, but rather towards the speech itself – to idiolect.
When I look back at the way the painting of Tomáš has been developing since the end of his studies up to the present, I can think of, as the most adequate label for this process, the word sedimentation. There are no radical breaks in it, but rather slow motion in a slowly growing set of elements. Its core consists of fragments of the “non-architecture”, various bars and slats, pieces of corrugated metal, broken brick walls converted into nervous pen drawing. During the months spent in Berlin in 2010, Tomáš started using more elegant, elongated lines. Curves and vectors, as if taken from meteorological maps or bold drawings of future cities, however, still enclose not only colored spots and surfaces (Tomáš’s work got at this point considerably closer to noticeable style of Julia Mehretu), but also the remnants of do-it-yourself pseudo-architecture.
In the following period, Tomáš was charmed by e. g. morphology of Gothic architecture, also by content-wise completely depleted aesthetics of predefined shapes of various rulers and French curves. In his paintings, crumbling into even finer details, there are unexpected fusions. Platforms, whose geometric rigor filled with warm colors reminds us of bright tiles of the 70s‘ disco, bear rickety structures, shape hybrids in which increasingly permeates the reference to late modern style, geometric abstraction of the 50s and 60s, and specifically to their local versions.
This formal tendency is most fully manifested in the current set of paintings. Although their dark tonality dominated by gray, brown and ocher implies a significant shift at the first sight, but what is the morphology of the new work concerned, we can see here another particular synthesis or another reinterpretation of elements which were used many times in the past. By converting them into the large format and combining them with a fuller body of colored mass, the “identical words” acquire a new meaning.
Recent paintings by Tomáš Bárta are unquestionably one of those inspiring a great interest in reinterpretation of the language of modern style. In this context we can recall Vasil Artamonov and Alexey Klyuykov or the winner of the Jindřich Chalupecký Award, Vladimír Houdek. The difference of Tomáš’s work lies precisely in the sediment set of forms, the composition of which can not be well interpreted in relation to any external (historical) narrative. For Tomáš Bárta remains particularly important the formalistic process towards an autonomous form. Morphology of modernism in his case is not a symptom of a shift towards the current “historiographical turn”. It reflects mainly the present and its eclectic style-making as a paradoxical process towards originality.