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.

                                                                   


Peter Demek / Status

-

Fait Gallery
Božetěchova 1, Brno
3rd December 2015 - 28th January 2016
Opening: 2nd December 2015 at 7pm
Curator: Michal Novotný
Photo: Martin Kacvinský
 
The word “reality“ in Czech contains “action“. Reality then is not something neutral and independent, but on the contrary it is a matter of action, strength and work. The fact that the reality is actually torn out of the world confirms also the word concept. In Czech the root of the word concept suggests a physical grip, separation and perhaps connections, such as the case with "accepting a husband or a wife".
 
In the same meaning, as reality is connected with action, Peter Demek’s work is related to realism. The Slovak word used here (realism) is not chosen because of the nationality, but because of its better sound. Re-a-li-sm reminds us of the sound of the slitting saw cutting the iron. In realism you can not separate the "what" from "how".
 
The matter in realism, just because it’s realism, always flows with the idea. The ability to see the ideal form, "how it’s supposed to be," is indeed a matter of years of training, the growth of synaptic structures of neurons in the brain. A sudden understanding, a flash, as the word again suggests, is a release of energy, the reaction of electrical nerve impulses to the seen. A shape or rather a form, that Peter Demek sees in this flash in a specific every day life situation (such as the girl folding paper on the train or a speaker cord rolling down the stairs, or otherwise endless testing on paper or in a workshop), forms fundamentals, foundation for further work. One could almost say, that Peter in this flash peeks into the invisible structure beneath the surface of things. Realism can indeed be very mystical, just because Peter‘s objects are somehow more than just what we see – they have some sort of essential pre-matter aura. However the understanding of each man is always a sudden flash, that can never quite be replicated and simply expressed. Peter then, thanks to the years of training of sensitivity in compositions, forms and shapes, for a moment seems to understand how things forming the reality, which we don’t really notice most of the life, really are.
 
This inseparability of matter from the thinking and thinking from the matter continues also in the emphasise of processuality on the work. Fundamentals – theme – shape – a form that was abstracted, or rather made real, because in realism we can not speak about abstraction however was not fully grasped even at the moment of insight, and thus can never be made completely and permanently real. The tool helping to get closer becomes for Peter Demek on one side a sheer perfection of processing, which always faces the boundaries of material and tools – mediums, or vice versa – a certain roughness and brutality of the material used. The energy and time used for the object‘s creation then only further highlights the tension – like "revenge of the surface." However, the process must, because of the clear unavailability of the final outcome, continue outside the object. The motive materialised in the medium that Peter always places into a certain context, which is always a specific environment, whether it is in the gallery or the exterior, and at the same time into a physical mount, a platform, that helps to place them in this space. The situation created is then manipulated by performative actions. This leads to what might be called a "meeting" of an object with human activity or other objects. Because the never fully available result is just in the tension between the surface and the inside, the emphasis may take place both by covering and revealing, by changing of a part or the whole, or outlining or sweeping into and in all cases by an action irrecoverable or unrepeatable. All three steps however do not need to necessarily be present or implemented as it is not important, and not always entirely possible to distinguish them. They all rather just refer to what happens between them, or rather in the middle of a circle among them, like the invisible electrons that shoot by create the shape of the nucleus of an atom, which is not possible to see in the wavelength of light.
 
Michal Novotný, curator

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