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



FRANTIŠEK SKÁLA / TWO YEARS' VACATION

26.02.2020 - 25.07.2020

Fait Gallery, Ve Vaňkovce 2, Brno

Opening: 26. 2. 2020 at 7pm

Curator: Miroslav Ambroz

 

In my past lives, I was a hunter and a gatherer. I would always start my everyday routine
with decorating tools, weapons and creating musical instruments for myself.

1) Even though you were considered as the creator of spatial objects, in this exhibition your major emphasis is on paintings. What was the impulse?

The new atelier, where for the first time in my life, is light, space and warmth, this helped me to finally start painting. An eternity of horizons was open in front of me, together with two big travels to Columbia and Australia, I understand this happy season as staying on an abandoned island, therefore the name "Two years’ vacation".

2) In 2004 you painted large format canvases "Roads of swifts" and "Mother Earth". In the sametime frame you also painted "Chaple of Karlin", and even before that, "Envelopes" were created, therefore in your own way you are continuing with something that was created long before? 


Of course, I was already painting in the '70s during my studies. Back then I inherited very rare pigments from prof. Slánský, which I am using presently. The first time I used them was during my exhibition in Rudolfinum, when there was a need to paint something great for "Silent Hall" and a figure of the central deity arose, which is appearing in my works in different varieties. Connection with the material was always important for me. The type of work on the ground on the non-gesso canvas, together with water diluted pigments and acrylate bonds demanded this physical contact. Even in some places on the paintings, there are my footprints. 
 
A wall painting "Chaple of Karlin" was in somewhat a cleansing exhibition after the floods in 2002, and according to an agreement I had to turn it white. The oldest envelopes date back to 1986. The style of their decoration is connected with the style of "Third rococo" and that epoch is accumulated in my works. In the '90s I created multiple large format envelopes, which I perceived as the object/pictures having multiple-meanings and it opened an inexhaustible line packed into certain cushions, similar to guitars. This is related to my favourite non-standard formats (ovals) and adjusting large canvasses "free" without the stretcher bar.

3) What was most interesting thing about Australia?


First of all never ending space and starry skies. Five weeks, every evening by the fire in the desert. Furthermore, colours and rock paintings as old as 60 000 years. This was the first time I have seen baobabs and eucalypti that were 800 years old, which existed way before the arrival of whites... breathtaking scenery. I brought back a lot of collected materials and natural clay, with which I am painting.  Australians have a "story" for each god, they are mostly cautionary stories, which have helped to keep the tribes viable. It appears to me as there are various imaginary divinities, however, they were born from the transcultural backdrop. Something interesting is that the rock paintings and figures on it are very similar all around the world, but I am not the type who would study these things in much detail. On the other hand, I deliberately keep certain blindness, to be astonished, and I would recommend this to consumers. Those who ask too much will learn too much.

4) Some rusty images look a bit apocalyptic, did it have any specific impulse?

"Rusty images" are painted by some rusty mud from a forested swamp in West Czech. In fact, they are ferric nano-shells of microorganisms. I discovered this beautiful colour in the '70s, which came back to me now, to extract it artistically. Thematically, they partly follow the cycle of thermo-drawings "Landscapes from Timelessness" or the cycle of graphics "Giants", where the power of nature is personified into supernatural beings. People desire to witness a miracle or other paranormal acts, and we have this advantage that we can also paint them. Also, people are drawn to the aesthetic of natural disasters and the theatre of extinction. Towards the end however, the road took me elsewhere. 

5) When you were in Columbia, did you try yagé -the most renowned shamanic hallucinogen?

I don’t need to check what I suspect. I don't need to meet God. I don't want to upset him. He
could stop passing me.

The interview led Miroslav Ambroz

 

                                                                                 


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