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



Jan Nálevka / And now let’s finally turn the page

23.05.2018 - 04.08.2018

Fait Gallery, Ve Vaňkovce 2, Brno

opening: 23. 5. 2018 at 7 pm

curator: Jiří Ptáček
exhibition architect: Tomáš Džadoň
 

A grid becomes a symbol of organisation in the most general sense of the word, a kind of order of things, and at a symbolic level also a world order. 

- Jan Nálevka

The A4 format paper is the most widespread kind of paper in both households and offices. We use it to print ordinary documents, for photocopying, notes and sketches. It is also used for the printing of formal court decisions, meals of the day in cheap restaurants and university theses, as it is the only format with which one can be sure that the diploma work will be bound in covers imitating leather as late as an hour before the deadline. Files for this size are available from any stationery shop, and millions of sheets pile up in millions of metres of office archives. Text editors now offer the digital version of A4… The standardized A4 format is guaranteed by the ISO 216 international standard for paper of the A, B and C categories. The first attempts at standardisation go back to France during the Revolution in the late 18th century. The main advantage of this proportion of sides is the simple division in halves after which the sheets retain the same proportion of sides. The major benefit of the adoption and dissemination of the standard was its compatibility and coordination of the manufacture of a whole spectrum of products. Nowadays, when you ask someone to picture a “common sheet of paper”, they will most probably visualize paper of the A4 format. 

When lining A4 sheets, Jan Nálevka adjusts the drawing to the standard. He opts for a neutral handwriting, and steps back as an artist. He uses blue ballpoint pens in order to emphasise office work where the compliance with prescribed administration procedures is essential. Reams of paper covered in lines and square grids are virtually indiscernible from mass-produced prints. And since Nálevka further segments the paper with lines and square grids, while in fact still preparing it for writing and drawing, he can talk about the creation of “standardised blankness”, a blankness achieved through work. Its volume, as well as the time it requires, are not proportionate to the result. However, in their reflection there is always space to realise the absurd nature of this activity. Nálevka’s drawings can thus be considered implicitly critical, yet at a more general level they are abstract visualizations of an order introduced into art, or into a work activity as such. And in its ultimate form, the segmented A4 paper format is a symbolic representative of standards predestining our factual possibilities, shaping our perception and behaviour, and providing a basis for our imagination in the private and social dimension of life. 

The And now, finally, let’s finally turn the page exhibition can be understood as a public audit due to which the material that in the previous decade had progressively emerged at preliminary, autonomous and semi-autonomous presentations was gathered in a single place. And although the show exclusively presents drawings from the years 2009—2018, it captures Nálevka’s thinking concerning the external conditions of the organisation of human life. It is divided into three basic sections. The first one observes the subjects of the basic organisation plan and “standardised blankness” as the consequences of the adopted  art-work load. In the second section, the issue of the time invested in the drawings, and lost, comes to the fore. Finally, in the last section Nálevka abandons the point of view of an individual and with plans drawn over reproductions of books on modernist art comments on the historical and possible future social orders. 

 

                                                                      


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

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