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 Merta / Return

21.02.2018 - 05.05.2018

Fait Gallery

Ve Vaňkovce 2, Brno
Vernissage: 21.2.2018 at 7 pm
Curators: Denisa Kujelová & Jiří Zahrádka

Return is the movement of the Tao, yielding

is the way of the Tao. Ten thousand things

in All Under Heaven are born of what there is.

What there is is born of what there isn’t.

In a distinctive visual style rooted in his personal memory, Jan Merta transforms real-world subjects into specific projections of his own experiences. This unusually sincere approach is in its intensity and truthfulness towards the viewer remarkably transferrable and communicative. In most cases, the artist chooses as the subject matter of his paintngs, drawings and objects things and situations on the edge of ordinary attention that, however, are personally highly important for him. By removing them from their original context and by their free processing he fills them with new contents. The pure essence of seemingly ordinary objects demonstrated on a monumental scale with the use of unconventional; spatial structures provides Merta’s paintings with a strange tension, which is in some works even intensified by the refined employment of light and the atypically approached relationship between object and area when an accentuated background creates an illusory perspective.

All of Jan Merta’s works have their own raison d’etre in particular stories, and his art is so closely linked with personal experiences that it could be understood as the artist’s diary records of events, experiences, memories and reminiscences of people, objects and places. Every new painting is for him a return in thoughts, and it is therefore hardly surprising that he has chosen this word for the exhibition title. However, it should be viewed at several levels of meaning: apart from the tite of a sculpture, the motif of return also refers to the show itself, organised in exhibition rooms to which Jan Merta returns with his new project after eight years. First and foremost, it refers to regular returns to the artist’s key theme circles, as well as to particular motifs which are, nonetheless, always approached in a different way.

Within the Return exhibition, sections such as Liberec are important; the artist returns in it to the places associated with his childhood and has worked on it, on and off, for several years, as is the subject of civilization threats and cultural codes as homage to Old Masters and specific works of art. One example is Goya’s painting Third of May 1808 (1814) from which Merta borrowed the motif of a lamp. The lamp as a source of light is a vital element of the picture, not only in its form but also in its content, and Merta has utilised it several times. Last but not least, the exhibition presents works referring to the artist’s penchant for Eastern philosophy. In 2010 and 2013 Jan Merta designed the book Laozi translated by Oldřich Král, and his close friendship with this extraordinary figure reinforced his interest in Chinese philosophy. In the Fait Gallery exhibition project this leading sinologist agreed to incorporate into the LAOZI installation his sound recording of the book accompanied by Merta;s paintings with fragments of cups and saucers. These symbolize clay vessels: according to the teaching of the Tao, the meaning and purpose of their internal parts only come from emptiness.

                                                                   


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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