Jiří Staněk

Brightness

 
Petr Nikl

Wild Flowerbeds

 
Lukáš Jasanský - Martin Polák

Sir's Hunting Ground

 
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



Milan Maur / Uncertain Sequences of Action

19.10.2022 - 14.01.2023

Fait Gallery, Ve Vaňkovce 2, Brno

Curators: Denisa Kujelová, Ondřej Navrátil and Jana Písaříková

Opening: 19 October 2022, 7 pm

 

Following the Sun was undoubtedly one of the key points of Milan Maur's work. This radical action, documented by an unclosed circle on a map and accompanied by the text on 9 May 1983 I followed the sun from dawn to dusk, anticipated his future direction as an artist. In the course of the 1980s, Maur developed in the Czech milieu unique conceptual practice based on the observation of minute natural sequences and events. This was not, however, a “desk-job” investigation at a safe distance from the observed subject but in situ research, requiring physical involvement and vigilant attention close to meditation. Specific examples include the artist’s numerical series documenting the autumn falling of leaves of various species of trees over several days, or his shadow images in which he recorded shadow shifts throughout the day at given intervals. This individual research was certainly also a personal ritual and self-preservation method of the artist's survival in totalitarian Czechoslovakia of the 1980s.

 The first part of the exhibition presents works that convey the artist's natural science interests and at the same time seek to answer the following question: what is actually behind all this endless swarming of nature? Is it a coincidence or another level of order? And is it possible to unravel its system, to relate to it, or to identify with it? We thus enter a world of thought that hasn’t lost its relevance even after all these years but opens up to us further and new meanings in the times of climate crisis and a search for a way out of the solitary confinement of anthropocentrism and its blindness, deafness and arrogance.

 By the mid-1990s, Maur's work seemed to have reached its end. However, the feeling that this was one of those short-lived careers is quickly suppressed by the further parts of the exhibition. The extensive body of photographs from the period after the turn of the millennium is linked to his earlier work primarily by a conceptual strategy of recording the environment that works with the principle of a predefined creative process, more exactly, with the experimental adjustment of the optics of a sophisticated Hasselblad camera. The titles of the cycles testify that they were created during expeditions to distant lands, which on the one hand echoes the several-month-long pilgrimages of Maur's youth and on the other introduces us to the new life situation of the artist, who in the 1990s went from being an outsider and a night watchman in the Plzeň cemetery to a successful entrepreneur and an enthusiastic traveller.

An essential part of the exhibition is a new installation related to the artist's recent experience in a hospital environment - a place where every person becomes a constantly controlled and measured subject in the gears of a fixed order. Here, Maur returns to and approaches his own body as concretely as possible. Whereas until now we have only suspected the artist’s external and internal sentiments behind informative and poetic notes in the margins of the paper (...I was tracing the shadow of a pear tree...), we now see the outlines of his body, captured by his son on a hospital bed, and for the first time ever he himself becomes the subject of the record - in an attempt to record the very fragility of human existence and the potentiality of its end. Milan Maur's drawings, photographs and installations can thus be understood as a record of a sequence through which a particular event is singled out from an otherwise cyclic universe. This might be the world, the universe, nature, or a person’s existence. 

 

                                                                                                


Ewa & Jacek Doroszenko / EXERCISES OF LISTENING

-

Fait Gallery PREVIEW
Ve Vaňkovce 2, Brno
23rd March - 4th May 2016
Opening: 23rd March 2016 at 7 pm
Photo: archive of Ewa a Jacek Doroszenkom
 
Sound is a process of moving particles. Hearing is a physical, biological process. We are constantly experiencing sound, but most of it goes unnoticed because we are really not listening to it. Listening begins when we become conscious of sound and focus on this sense. In the art by Ewa Doroszenko and Jacek Doroszenko sound is treated as a legitimate material of a field of visual art.

“Exercises of listening” is a continuation of the project by Ewa Doroszenko and Jacek Doroszenko. The show consists of videos, graphic prints and sound installations in which audible and visible spheres interact with each other and the narration is based on the associations freely suggested by memory. Listeners find themselves more concerned with things than with sounds, which do not exist as visible matter. People often ascribe a meaning of a sound to object that created it. Putting these objects together makes some kind of narration and storytelling. This is the main reason that Ewa and Jacek Doroszenko typically use a representation of objects to reveal an audible essence of reality.

Video works “The same horizon repeated at every moment of the walk”, created during an artistic residence at the Fundació AAVC Hangar in Barcelona (2014) and “It’s hard to find a polyphonic body”, produced during an artistic residence at the Kunstnarhuset Messen in Ålvik, Norway (2015), shows the landscapes that becomes a musical notation system. In these short audio-visual compositions, an activity of moving figure determines the pitch on the scale of each frame, from higher to lower. Primary elements of a musical composition by Jacek Doroszenko are left to the determination of Ewa Doroszenko as a performer. Jacek Doroszenko creates also a combination of sounds that have been captured in an immersive environment. The installation consists of loud speakers. Each speaker emits different track and all together produce a high frequency sound wall, full of details.

Ewa Doroszenko confronts herself with acoustic environment through more remote references, attempting to translate selected audio events to the visual language. Her graphic prints illustrate the flow of sound material: collecting, archiving and reproduction in the context of digital times. As well as audio recordings, graphic collages consist of detailed layers, but the basis for these works is a connection to modern music notation systems. Ewa Doroszenko uses graphical language to articulate the characteristics of a particular sound recording: rhythm, pulse, progression are elements of each composition also in a field of visual expression.

 

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