Lenka Vítková

First book of emblems

 
Inge Kosková

Flow

 
David Možný

Blink of an Eye

 
Kristián Németh

Warm Greetings

 
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



Lenka Vítková / First book of emblems

23.02.2022 - 14.05.2022

Fait Gallery, Ve Vaňkovce 2, Brno

Exhibition design, artistic collaboration: David Fesl

Graphic design of the book and pendants: Daniela & Linda Dostálková, Sonni Scheuringer

Text: Marek Pokorný

Opening: 23. 2. 2022, 7 pm

 

I’ll do something somehow 

The most remarkable, for some perhaps somewhat old-fashioned but at the same time unusually topical aspect of Lenka Vítková's work is its emblematic nature. However, not in the art-history sense of the word when an image is directly linked with a text in a single sign unit which contains a gnomic title, allegorical representation and an epigram revealing the meaning of the enigmatic title and the even more enigmatic representation. In her case, the emblem is more appropriately understood as a metaphor for a variety of rather personal tactics and artistic strategies in uncovering meaning by obscuring it, and a multifaceted manifestation of the unity of poetry and image. 

It is therefore not a literary extension of a work of art, or, conversely, of the imagery of texts but, first and foremost, a condensation of lived experience that allows the artist to perform meaning through a multi-directional exchange between the seen, the thought and the written, an exchange conducted through words, a spatial intervention, sound or moving image, a painterly gesture or the selection and processing of a specific material - in recent years, for example, plaster, which is not just the basis for painting etudes but also comes into play as a visually and haptically active thing-sign. The title of Lenka Vítková's current exhibition and the accompanying publication, First Book of Emblems, is therefore an explicit acknowledgement of the principle of her creative practice, as well as the artist’s suggestion of how the viewer (and the reader) could approach them.

Waving, circling, approaching and receding, leaning, walking, falling. Transformation. A meaning created by the movement of words and the action of the painted surface, by an image related to a sentence. A meaning emerging from the image following a sentence, from a sound or film sequence as a transposition of a word or image. Lenka Vítková's approach to her work is typified by a special kind of civility and ability to speak for herself in relation to the emerging whole of the world through subjects whose prospective banality is cancelled not only by the mentioned emblematic nature but in recent years predominantly by working on the painting, painting as a still-effective way of showing what I mean. Clues which are obviously distilled starting points include not only signs, abstract patterns and abstracted realities or objects and configurations of the seen - glimpsed, but also objects, body fragments and figures. Yet it is always about the whole. Indeed, the subtle objectivity of the subject with which Lenka Vítková is currently working is accompanied at every step by her ability to share much broader contexts, more like a condition than an explanation of the present ones, which make the choice even more significant. Or, last but not least, there is that unsentimental way in which the artist, through painterly means, lays out and activates the surface in order to keep in play the affective qualities of the creative process and their sources. 

If Lenka Vítková's works and exhibitions sometimes make the sympathetic viewer feel slightly dizzy, it is due to the continuous stream of exchange between seeing and intellectual work. Her art (she is an exceptional colourist among painters of her generation and beyond) amplifies and intensifies the feeling of the viewer's physical presence in front of the painting or in its space, while at the same time giving meaning to the actual experience that the recipient is undergoing in a difficult-to-convey state of consciousness. One aspect of this type of artistic experience (emphasized by the tradition of modernism) is the result of long-standing exercises through which we still, albeit rarely, and then with a certain suspicion that we are definitely missing something, master the dialectical relationship in which the self and the universe, immediacy and mediation, subjectivity and impersonality, or tradition and its unique fulfilment, can be found. Although we can speculate about what the postmodern emancipation of the sign universe has made possible for the artist and which line of modernist subjective universalism she may be following, the artist herself has described her art practice most accurately: “I’m coming,/ don't know what I’m bringing./ I’ll start somewhere,/ I’ll do something somehow./ Some things the material will do on its own. The gestures I own.”

Text: Marek Pokorný

 

The project was financially supported by the City of Brno and Ministry of Culture of the Czech Republic.

                                                                                           


KRIŠTOF KINTERA / HOLLYWOODOO!

-

Fait Gallery & Fait Gallery MEM
Božetěchova Street 1 (entrance from Metodějova Street), Brno
6/4 – 16/5/2013
Opening: 4/4/2013 at 7pm
Curator: Jiří Ptáček

In the new sculptures by Krištof Kintera there is an obsessive attachment to matter and the process of its controlled and spontaneous transformation as well as to pop-cultural background from which the author draws the content and context of his artistic work.

This doesn’t mean an unexpected twist or making visible the yet hidden mental horizon. Kintera’s work is consistent in form and content and it has been continually evolving since the early nineties, when as a young student of Academy of Fine Arts he began to attract the attention of professionals to quickly become one of the most sought-after artists of his generation. Recently, he has reached the laurels of broad social acceptance which somehow cover first gray hair on his continuously shaved head.

“Still, there is some justification for the primary forms of sculpture,” he said last year to Marianna Serrano in an interview for the exhibition catalog Výsledky analýzy in the Municipal Library in Prague. For Kintera, these new justification became the inartistic “sculptures” such as snowmen, inflatable toys or carpet rolls. Such models can be generally called folk objects. For Kintera, who since the middle of the last decade was interested in re-constellations of objects of everyday needs, the snowmen and such became examples of differently motivated but still ordinary need to interact with a physical three-dimensional object.

Kintera doesn’t show us these objects because of factual statement of its nature. He penetrates into them and deforms them really and symbolically. He seeks to amplify their emotional functioning with a sculptural gesture. His aim is the intensity of the experience. In the sculptures from the last time the amplification translates into more and more horrifying content with occasional overlaps to apocalyptic-religious context.

The fundamental formal manifestations of this tendency are evocations of instability and collapse – a collapse of a form in mutual relation accompanies the collapse of content. Although Kintera’s sculptures were in the past based on irony, criticism and persiflage which were related not only to the topic but also to the artistic discipline itself which through its history have built a strong belief in its own grandeur and thus faces Dadaistic beatings (and here we might even wonder how is Kintera’s work related to the work of Karel Nepraš), it is possible to consider a large part of Kintera’s last sculptures a ventilation of the need for undermining his own foundations. On the statues, which at first glance resemble its former elegant design solutions, there are more and more apparent low-tech and bastling. The methods of productive regression are also the embedding into mass, dissolution, racking up the shapeless pile or the effort for maximum material hybridization. The last of his toys and especially some neo-centaur mutants in so far unprecedented scale claim allegiance to pop-cultural archetypes in a fake reality of bad horror movies and bloody novels.

The last output of Kintera’s obscure efforts is an imitation of a pile of half blown-away snow. Last time I saw the fascination with these forms it was in the photos of the Czech-Hungarian photographer Viktor Kopasz and he (and many others) saw in these last relics of winter a record of human activity and other influences, the natural ones and the ones connected to urban life. Piles of snow are non-statues whose lack of form and dirtiness is a result of rivalry between man and nature. Kintera is imitating them with the effort for maximum accuracy and presents them as gallery works that we would walk around and visually absorb. The absurdity of such activity, however, is the justification for primary forms of sculpture just like Kintera’s constant search for interfaces (no matter how exploited) with a laic spectator.

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