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



Jiří Kovanda / Ten Minutes Earlier

08.10.2020 - 17.04.2021

Fait Gallery, Ve Vaňkovce 2, Brno

Curator: Denisa Kujelová

Special opening day: October 8, 4 pm–9 pm

 

Jiří Kovanda’s work is typified by several trademark aspects which manifest themselves continuously, from early actions and installations through postmodern drawings and paintings, collages, assemblages and objects of the 1990s to the current interventions, installations and performances: inconspicuousness, efforts at contact, humbleness, simplicity, spontaneity, sensitivity, humour and manipulation with ego.

 

The austere rendering of low-key, almost indiscernible installations and interventions is already apparent in Kovanda’s early actions in which he examined the most elementary possibilities of nonverbal communication. Back in the 1970s, the philosopher and art theorist Petr Rezek pointed out an interesting fact, saying that Kovanda’s actions signified, above all, a desire for contact. At the same time, they are set not to be fulfilled: they were often conceived so that they forced the artist to work with his natural shyness and to go beyond this mental barrier. The participants were placed in unknown situations outside the framework of art, or situations which through their non-diversion from normal behaviour remained invisible for viewers, and were only made visible by their subsequent documentation by means of photography and presentations in gallery contexts.

Photodocumentation was crucial in the next phase of Kovanda’s work in which his physical presence was gradually replaced by mere records of his activity. With installations intervening in private and public environments without the presence of viewers,  photography presented the only possibility of recording the artist’s traces in the form of various objects of daily use and trivial materials installed completely inconspicuously in different places, both outdoors and indoors, also regarding the indiscernibility and ephemerality of these interventions. The artist already articulated his completely natural strategy of creating an unexpected context for an object and leaving a trace of his activity in his early works such as fallen leaves stuck to the ground with a sellotape, wooden wedges inserted between cobblestones and a pile of pine needles and nails in the forest, or interventions in  interiors, for example, a flower pot hidden behind a pillar[1], a string tied around the same pillar two months later and a white string stretched across a room in Kovanda’s home. 

Kovanda’s actions frequently involved banal situations, ordinary activities and mundane tasks that we do automatically, yet acted out in a shifted context. Likewise, in his installations and interventions the artist shifts ordinary, routinely used objects to a completely new, unexpected level by removing them from their original situation and taking away their primary utility function.[2] Thanks to his work in the National Gallery depository[3] Jiří Kovanda first started to use in his installations material related to installation practice in the everyday gallery run, for example strings, paper, glass and wooden wedges. He also employs things of daily use and household objects including foods in his current installations and interventions, along with objects typical of a particular place[4]. Through them he makes a space more visible and defines its individual parts, and thus also slightly manipulatively determines how a particular space and its layout is perceived by viewers and sets a new manner of movement in this space. Jiří Kovanda’s installations are not rooted in an idea of a certain place suitable for or adjustable to a particular work; instead, he executes an idea and the preparation of a situation which is to make up the base of a new project, or of the employment of some of his older works, directly on the spot. This is also the case with the central installation Gold Ring which, perhaps most of all the works on display, prompts a reflection of values, in a metaphorical comparison of a string and a ring, an ordinary thing and an exceptional object. Everything has the same value, all depends on context and interpretation. 

 

A virtual tour of Jiří Kovanda's exhibition - Ten minutes earlier can be found here.



[1] It was a provisional gallery space in Provaznická Street. The basement room of the Odeon publishers where Jan Mlčoch worked from 1978 was originally designed as an archive, and until Mlčoch’s resignation in 1980 was used by three Prague body artists (Karel Miler, Petr Štembera and Jan Mlčoch) as a meeting place. They staged there their own performances as well as those by their close friends, including Jiří Kovanda. 

[2] In this respect, a key role in Kovanda’s art was played by Marcel Duchamp’s exhibition in the Václav Špála Gallery in 1969, prepared by the chief curator Jindřich Chalupecký in collaboration with the Milan art collector, gallery owner and art theorist Arturo Schwarz. 

[3] In 1977 Karel Miler got Kovanda a job in the National Gallery in Prague; he was responsible for a depository housed in the Municipal Library. Kovanda worked there until 1995 when he became an assistant professor at the Academy of Fine Arts, in a studio headed by Vladimír Skrepl.

[4] Not surprisingly, the artist’s installations tend to be confused with ordinary things accidentally left in a space, and as such must be carefully protected from the over-enthusiastic cleaning staff.

 

                                                                                    


JIŘÍ THÝN / THE TWO ENDS OF A DISTANCE – THE PICTURES THAT HAVE NEVER HAPPENED

-

Fait Gallery MEM
Božetěchova Street 1 (entrance from Metodějova Strret), Brno
28. 3. - 21. 5. 2015
Opening: 26. 3. 2015 at 7pm
Curator: Jiří Ptáček

About the Study, Nonnarrative Photography, Gesture and Poetry 

 
About The Study. The photographer Jiří Thýn held three exhibitions in 2011-2012, called Basic Studies. The term study could have been understood in the way of its conventional use by artists - such as a survey or preliminary preparation. However, we use Basic Studies in various fields of scientific knowledge to gain the first set of relevant data, which is used as a basis for further work. One way or another, by these exhibitions Thýn initiated a phase of work, where it has been noted in advance, that it actually precedes something. The manifestation of the importance of subsequent, yet not completed step, referred to the inherent unpent of seemingly definitive exhibition shape and emphasised the importance of continuity. In 2014 Thýn again felt the need to return to the format of the study and the first of two solo exhibitions of that year called Basic Studies / Nonnarrative Photography.
 
The Nonnarrative Photography. Thýn found the concept of nonnarrative photography after a few years of exploring the influence of technical procedures to the construction and operation of the photographic depiction. Quite naturally he got close to the avantgarde photography of the 20th century and the theme of abstraction in photography. He was intrigued by the problematic use of this term in the case of medium, the essence of which is always a capture of light leaning into material reality in a specific timeframe. Instead of abstraction as such he proposed to deal with photohraphy, where the boundaries of a story and narration are being tested.
The radius of nonnarrative photography has gradually expanded through all Basic Studies and other Thýn´s exhibitions. Based on this there are also Two Ends of A Distancein both variants: a Prague one from the French Institute and a Brno one, with the subtitle The Pictures That Have Never Happened. During this continuous process, there was a significant, though still almost unnoticed turnover in Thýn´s creative approach.
 
About The Gesture. First, however let´s briefly stop by the gesture and the two, one quickly succeeding another, exhibitions Basic Studies / Nonnarrative Photography and Consciousness As A Fundamental Attribute I, II in 2014. Thýn showed photographs of magazine reproductions cut through by a few lumped cuts with a scalpel. That brings into the show a physical gesture and a relation between an image and a body. Actually these gestures did not have a nature of unaware, unconditioned movement. In the text Thýn presented the background of these interventions as a result of a wide spectrum of conditionality:
 
"Precondition of shape, precondition of lie, precondition of emptiness, precondition of space, precondition of desire, precondition of dependence, precondition of emotions, precondition of time, precondition of beginning, precondition of end, precondition of form, precondition of beauty... "
 
By the long list of presumptions Thýn tried to emphasise the multiplicity of active subjects in being with the image, covered by the consciousness as a whole. Cutting into the photos was their physical "reading" and also factual and semantic flexion. The importance of generalisation / abstraction (as the particular goal and a specific result) can not be – at the nonnarrative photography - questioned.
 
About The Poetry. The Two Ends of A Distanceis not a study, but one of the syntheses, which continuously build a kind of island of the application. Thýn again intervenes in magazine and newspaper photos, this time by a wider range of methods and materials. Although these are story pictures (scenes), he again eliminates their informative value. A word is dragged into the situation, in which its theoretical basis is articulated as a poem. This fits best to Thýn´s main intention of creating a lyrical transmutation of the epic theme.
 
The Pictures That Have Never Happened. In his new photographs Jiří Thýn proceeds from specific to general. By his intervention he transforms a particular person in a specific situation into a figure rooted to its place and space of the picture. The testimony of emotion is transferred to the expression of emotion. He proceeds in accordance with the "presumptions" of shape, form, beauty, etc. Instead of analysing the photographic language for which his earlier work was valued, he focuses to the symbolic manifestation of the hypnotic power of pictures, which rises in the irreducible synergy of cultural memory, instincts and unconscious archetypal patterns. Thus the subtitle of the exhibition could be paraphrased as "pictures that have not happened, although they exist."
 
Jiří Ptáček

Go back