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



Pavla Sceranková & Dušan Zahoranský / Work on the Future

05.06.2019 - 17.08.2019

Fait Gallery, Ve Vaňkovce 2, Brno

Opening: 5. 6. 2019 at 7 pm

Curator: Václav Janoščík

Exhibition architect: David Fesl

 

As if the main contradiction of the present didn’t lie in the very problems we are currently facing, from climate change to the revival of populism and misinterpretation. Perhaps the most serious pitfall of today is our inability to share these problems and fears, as well as values, visions and solutions.

There is a name for our involvement with the world, its building and suffering — it’s simply work. We don’t necessarily have to understand it as an occupation but as a process in which our activities and ideas are given sense and co-shape the world in which we live.

By extension, art is not just the production of exhibitions and artworks; it enters our shared imagination, enriching it with images, visions and criticism. At our exhibition for the Fait Gallery we are trying to open up this process, to invite the viewer closer, to the podium which dominates the gallery space and provides the installations with a joint framework and context.

The platform is modified for art, as well as for work and leisure in the form of a co-working space and two in-built lounges supplemented with chairs from Pavla Sceranková’s previous art projects. The podium-table thus assigns the meaning to the individual installations while at the same time it also invites the audience to enter the process, the cycle of work and leisure giving sense to both works of art and our world.

Pavla Sceranková shows the human situation ruled by the current work culture. In a series of plasticine figurines created by the pupils from an art school (the work is called Klára) she lets us observe the dissolving of shapes and the blending and merging of matter. The number of endangered species becomes a metaphor for the current environmental issues, as well
as for joint and applied work which is inevitably multiplied, affected by social expectations, and still can be shared and useful and mediate values, including aesthetic ones.

Milada, again named after a person devising the particular project and working on it, combines an elastic suit with performance. It invites you to a flexible, enchanting but subjugating part-time life which enfolds you like tight-fitting underwear. In contrast, Miloš, a figure rooted in the gallery podium, seeks a base and anchoring, perhaps even the return to reflections on nature and the corresponding rhythm, harmony and deceleration.

Our presence, be it social time or personal experience, seems to develop in loops intersecting the show, as demonstrated by the Ilja installation. It is not just a suspended loom, the return of working techniques to the space of a former factory, the picking up of the threads of work which was interrupted. It also manifests the cyclic nature of work as such, the circle of knitting and undoing, work and leisure, creation and destruction.

Dušan Zahoranský incorporates in his work the subject of communication. In a series of fake phone calls written on dummy cell phones (Mária), he comments on the overwhelming presence of (online) communication today, as well as on the isolated, private, almost absurd dimension of the possibility of instant communication.

The monumental ring (Libor) encircling the gallery ramp brings to the space office furniture and the issues of the stereotypization and commodification of work, or semiocapitalism. Our work environment and application are often subordinated to phenomena such as open space, home office, flexitime, as well as the necessity to be constantly available on email, mobile phone and social networks. In this way, capitalism does not only appropriate our time and work but also the creation of meaning and sense.

In addition, Zahoranský views critically the idea of a universal, non-specific or fully transparent language. In a series of coloured grids of digital characters, Mirek and Kateřina, he stages a combination of type, communication and digital culture, while in the central installation entitled Dušan he symbolically “stole” the letters “o” from his own email communication.

The artist works in similar fashion with the sharing of films on the popular server uloz.to (Artur series). He cut one minute from each film and uploaded the files again; not only to alter the films circulating among the server users, but also to work further with the “stolen” time. This time appears to represent the negative of work time and circulation, the possibility of hiding (as an artist) and working outside the affective loops of digital communication and the capitalist order.

 

Project was created with financial support of Ministry of Culture of the Czech Republic and
Statutory city of Brno.

                                                                             


Jan Brož / SSSSSS

-

Fait Gallery MEM
Božetěchova Street 1 (entrance from Metodějova Street), Brno
22/3 – 16/5/2014
Opening: 20/3/2014 at 7pm
Curator: Jan Zálešák

The Fait Gallery invites you to a solo exhibition of last year's graduates from the Prague Academy of Fine Arts Jan Brož (*1988). The exhibiton installation presents a constricted dramaturgical unit, the most important parts are six large drawings, a neon object and an author's book. At the SSSSSS exhibition the political clashes with the poetic in a way, which is not very common today. What is missing is an explicit "political iconography", we will not find here the proven model of engagement, which leaves the gallery world to consequently return to "conquer" the necessary symbolic capital. The greater burden lies on the audience, who can not quite hold of the established clichés, the greater might be the synergistic effect of understanding of the author's message.

I want to start the closer introduction of Jan Brož’s exhibition SSSSSS a bit unusually: by residency stays. In the last two decades the artistic residency has become a routine part of artistic life. Since the adoption of the Bologna Declaration fifteen years ago the possibilities for exchanges during university studies have dramatically expanded. Even in the routine system, that - especially in the concept of the EU - most of all implicits support of tourism, there are exceptions when staying in a new environment significantly influences the students. One of the places that have long retained this ability to influence and move the young artists in their development, was the Cooper Union in New York, where the students from the Prague Academy of Fine Arts used to be sent. Jan Brož spent at Cooper Union nearly six months in the spring of 2012. At that time, the school had just entered a dramatic period when its leadership began to consider a move away from the 150-year-old declaration of its founder, industrialist Peter Cooper, that the school should be "free to all men and women". The fact that the school management had accepted the neoliberal logic seeing the studies as an investment in the future and introduced tuition fees, led to the activation of both students and a big part of teaching staff. It is surely significant that Barbora Kleinhamplová, who interned along with Jan Brož, after returning to Prague significantly profiled her activities leading into the organisation of the art scene and she is getting more and more involved in the area of engaged in journalism and organisational activities.

After returning from New York Jan was finishing work on a long-term project The Intruder (2011-2013), by which he completed the studies at the Academy of Fine Arts last year. Therefore the SSSSSS exhibition in Brno Gallery MEM is the first significant evaluation of almost two years of formative experience. The content of Brož‘s exhibition is substantively political. The author asks for the way in which individuals and communities are working within the structure of the world of late capitalism; a world that Jonathan Crary identifies by the well put three digits: 24/7.

Even though I point Brož’s work as "political" (and certainly I also could have used the adjective "conceptual"), it is also work that exclusively holds the autonomy of art, and artistic means of expression. In the longterm the dominant means of expression in Brož’s work is drawing. The author also uses his experience gained with graphics and graphic design that he gets through both the PhD study in studio 304 at the Prague School of Applied Arts and at work in the studio Parallel Practice. A substantial part of the exhibition is the artist's book of the same name, which in addition to reproductions of exhibited artwork also includes examples of the artist's older works and fragments of the "moodboard" that preceded the installation of the exhibition and also accompanied our discussions over the nature of the accompanying text.

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