26.02.2020 - 25.07.2020
Fait Gallery, Ve Vaňkovce 2, Brno
Opening: 26. 2. 2020 at 7pm
Curator: Miroslav Ambroz
In my past lives, I was a hunter and a gatherer. I would always start my everyday routine
with decorating tools, weapons and creating musical instruments for myself.
1) Even though you were considered as the creator of spatial objects, in this exhibition your major emphasis is on paintings. What was the impulse?
The new atelier, where for the first time in my life, is light, space and warmth, this helped me to finally start painting. An eternity of horizons was open in front of me, together with two big travels to Columbia and Australia, I understand this happy season as staying on an abandoned island, therefore the name "Two years’ vacation".
2) In 2004 you painted large format canvases "Roads of swifts" and "Mother Earth". In the sametime frame you also painted "Chaple of Karlin", and even before that, "Envelopes" were created, therefore in your own way you are continuing with something that was created long before?
Of course, I was already painting in the '70s during my studies. Back then I inherited very rare pigments from prof. Slánský, which I am using presently. The first time I used them was during my exhibition in Rudolfinum, when there was a need to paint something great for "Silent Hall" and a figure of the central deity arose, which is appearing in my works in different varieties. Connection with the material was always important for me. The type of work on the ground on the non-gesso canvas, together with water diluted pigments and acrylate bonds demanded this physical contact. Even in some places on the paintings, there are my footprints.
A wall painting "Chaple of Karlin" was in somewhat a cleansing exhibition after the floods in 2002, and according to an agreement I had to turn it white. The oldest envelopes date back to 1986. The style of their decoration is connected with the style of "Third rococo" and that epoch is accumulated in my works. In the '90s I created multiple large format envelopes, which I perceived as the object/pictures having multiple-meanings and it opened an inexhaustible line packed into certain cushions, similar to guitars. This is related to my favourite non-standard formats (ovals) and adjusting large canvasses "free" without the stretcher bar.
3) What was most interesting thing about Australia?
First of all never ending space and starry skies. Five weeks, every evening by the fire in the desert. Furthermore, colours and rock paintings as old as 60 000 years. This was the first time I have seen baobabs and eucalypti that were 800 years old, which existed way before the arrival of whites... breathtaking scenery. I brought back a lot of collected materials and natural clay, with which I am painting. Australians have a "story" for each god, they are mostly cautionary stories, which have helped to keep the tribes viable. It appears to me as there are various imaginary divinities, however, they were born from the transcultural backdrop. Something interesting is that the rock paintings and figures on it are very similar all around the world, but I am not the type who would study these things in much detail. On the other hand, I deliberately keep certain blindness, to be astonished, and I would recommend this to consumers. Those who ask too much will learn too much.
4) Some rusty images look a bit apocalyptic, did it have any specific impulse?
"Rusty images" are painted by some rusty mud from a forested swamp in West Czech. In fact, they are ferric nano-shells of microorganisms. I discovered this beautiful colour in the '70s, which came back to me now, to extract it artistically. Thematically, they partly follow the cycle of thermo-drawings "Landscapes from Timelessness" or the cycle of graphics "Giants", where the power of nature is personified into supernatural beings. People desire to witness a miracle or other paranormal acts, and we have this advantage that we can also paint them. Also, people are drawn to the aesthetic of natural disasters and the theatre of extinction. Towards the end however, the road took me elsewhere.
5) When you were in Columbia, did you try yagé -the most renowned shamanic hallucinogen?
I don’t need to check what I suspect. I don't need to meet God. I don't want to upset him. He
could stop passing me.
The interview led Miroslav Ambroz
Fait Gallery PREVIEW
Ve Vaňkovce 2, Brno
15. 6. - 30. 7. 2016
Vernissage: 15. 6. 2016 at 7pm
Curator: Jiří Ptáček
Three years ago, a visual artist and art theorist Markéta Magidová held a solo exhibition Domestic dictionary in Brno Gallery Kabinet. She complemented a 3D installation by a printed dictionary interpretation of terms and phrases specially used only within her family. Interpersonal bonds within this basic social unit could have been viewed as a network emerging and confirming itself through language.
For Markéta Magidová the use of a wide range of artistic media is important. She, however uses spoken or written word, so regularly, that the exploration of these could be viewed as the significant focus of her work. It is the same case with the exhibition Tertium non datur. The installation part of the exhibition and the video are based on a single principle: the metaphorical use of the number 3. In the spatial installation created of objects and photographs there could be found traits that make the exhibition resemble as well as differentiate from the previously mentioned Domestic dictionary. As a similarity between the exhibitions you can see the efforts of the artist to bring together the fullest list of labels and names that, in this case, include the number three. The third eye, third hand, the tripod, the Third Reich ... Unlike the Domestic dictionary, however,this exhibition does not come with interpretation. It loosely lays one next to the other and leaves it upto us if we discover partial connections or the inability to create any justification for collecting these "third things" at one point. The consequence might be the impression that we are facing a somewhat obscure collection.
Magidová though monitors the role of language in shaping the thought structures and value systems. At the exhibition, called by the logical principle of allowing only two true statements, she draws the attention to "exclude" the third option. She focuses on the names that indicate redundancy, failure, a mistake, otherness, etc. She focuses on the deeply rooted binary schedule of human thought, within which case it is only considered to be "complete" and flawless. The author's intentions are yet political, at least as a discussion with the thought schemes, for which the deviation is considered a disadvantage without examination of its potential benefits. Exactly for this reason a part of the exhibition became a video in which the mime artist Petr Biel improvises movement of creations on three legs. It causes laughter or contempt within the audience. The question, however, is whether these two immediate emotional reactions are only two ways of rejecting that potential before it slowly starts to root.
T: Jiří Ptáček