12.05.2021 - 14.08.2021
Fait Gallery, Ve Vaňkovce 2, Brno
Curator: Barbora Kundračíková
Opening day: May 12 2021, 5 pm–9 pm
Even today, we still tend to understand a picture as an autonomous entity, a unique, final object which has a life of its own and naturally separates itself from the whole of the world. For that matter, we have spent a long time pursuing this, so it’s all good! However, there exists a close link between picture and word, including the inner ones. They belong to each other by their very nature, yet we seldom stress that the connection should be direct and, especially, generally accessible so that everybody can go through the same gateway. Then, however, there come moments when a picture communicates nothing but solidarity, shared being and one existence when the picture itself not only moves between horizons and transcends them but it is also absorbed by reality. This fully applies to Petr Veselý’s pictures. Their objectivity involves not only the time dimension but also a transcendental one.
Ernst Gombrich writes in his reflection on illusion that the power of interpretation can’t be overestimated, mentioning J. M. W. Turner whom he views as somebody who deliberately and in favour of what he sees suppresses all he knows about the world. Both are also relevant today, as we are moving on the same border of discernibility. Petr, however, turns not to what he can see but to what he can touch.
The moment of touch is magical, a touch has the power to take life and also to restore it. The laying of hands is an ancient ritual, hands radiate warmth and coolness, recognise, and in some cases also heal. The essence is always the same: the expression of craving for the original, the real, for what is genuine and to what we, at least imaginarily, return. Gombrich does that himself when talking about abstracted forms as a phenomenon of western visual culture which is certainly remarkable yet fatefully lacking any assessment rules. In Petr’s case, however, we move on the opposite side of the spectrum; a picture is an abstract, grey form, yet it is permanently striving at figuration, or evolves from it. At the sane time, what is abandoned calls for attention which is equally reversible, and the movement we perform during its recognition is thus cyclic and without memory. Echoes of objectivity are secondary, yet they have rules – and these manifest themselves in this way.
Petr’s work is about constants which regularly come to the fore. This regards both his poetry and what can be termed the natural life of things. As in a truly home environment things do not just appear but exist, they meander in forms and functions and their being has an order which also involves decline, so they are like this in the artist’s pictures, or rather, his pictures are like that. They show what a close link there is between them and the world if we deliberately insert them in the framework of our existence. Matter captivates.
Petr is aware of this, of course, otherwise he wouldn’t put so much effort into the bridging of the gap between reality and its image, between what has come to pass and what we expect. He also likes to enter this space, shaping it and summarizing it. Medieval altars in museums are the relics of other autonomous worlds, and the objects of the ordinary world devoid of their function are also like that. Naturally, this is an expression of reduction, but also concentration and (controlled) absence which, paradoxically, grows stable in its loss and thus resonates all the more its original function and talent. A hand frozen in motion, a shirt stretched in its bend moving from the field to the picture and beyond expresses this perfectly. As Ivan Blecha writes, “a reflection that the restricted position of the observer (…) leads to a restricted presentation of a thing is wrong and the statement about the necessary non-representationality of some aspects of reality, about its permanent distortion, is in fact unreasoned extrapolation.“ A picture is often the only thing left of something that once existed. It is a notch of a knife in a cupboard.
 E. H. Gombrich. Umění a iluze. Studie o psychologii obrazového znázorňování. Praha 2019, p. 235.
 In the last decades the formative task and nature of “things” has also been resumed by the western philosophical tradition, namely by Bruno Latour and object-oriented ontology (OOO).
 Ivan Blecha. Prostory zjevnosti. Dílo ve struktuře světa. Zlín 2018, p. 129.
A French mathematician, Bernard Morin is blind since childhood. Yet he has excelled in the so-called mathematical topology, a discipline that does not work only with numbers, but also with three-dimensional models. The subject of his long term work have become joint deformations, turning the models of spheres into complex and difficult to imagine shapes. The ability to recall an object or a form we usually associate with our ability to see. It does not matter if what we perceive is in front of us, or in our imagination, it is still a visual activity. In human biology the retina is linked to the brain by such a dense network of connections that a healthy individual can hardly imagine any other way to perceive the world. But Morin, when making his self-produced clay models, did not use only mathematical speculation, but an important – his imagination. The ability to “see” in his case gained another meaning. The absence of visual sensations of the outside world obviously did not prevent, and maybe on the other side strengthened, his inner vision. A door to a concentrated contemplation about form through touch had opened for him. What is for a sculptor a technique in daily practice, meaning dealing with the shape of a tactile activity, changed into an autonomous system in the work of a mathematician.
In the videos presented at the exhibition in the Fait Gallery David Böhm and Jiří Franta reflect just this situation where imagination is not associated with the experience of visual perception of an external reality. What can a blind man, who has never been able to see, dream of? Sure, it could be more a question for the cognitive sciences, however, here it is the questioning itself that is more important, it opens an interesting creative space for the authors. Both authors are already known for how, within their creative cooperation, they often, with a humorous playfulness, deal with the actual creative act as well as many obstructions. As the creative process is getting intentionally more and more complicated, it becomes an art piece itself. At this exhibition the moment of being different and obstacles, that move the normal functioning of man in this world, become directly a topic, to which both authors also relate their other presented work. The imagination of a blind man is just as impenetrable for us as the strangeness of faces of soldiers from the First World War, reconstructed during the first attempts at plastic surgery. The feeling of distance is associated with a grotesque and fascinating strangeness. The use of these sources of inspiration, is not merely a circus attraction in this case, but it actually points to the unexpectedly beneficial side of strangeness, revealing much more diverse parts of humanity and its quality in comparison to how it is being defined by the commonly occurring norm.