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 Grygar / LIGHT, SOUND, MOTION

24.01.2017 - 29.07.2017

Fait Gallery
Ve Vaňkovce 2, Brno
8. 3. 2017 - 29. 7. 2017
Vernissage: 8. 3. 2017
Curator: Denisa Kujelová
 
“I am sure, that there are correlations in the world, the sound is connected to the visual and also the visual doesn’t exist without the acoustic.”

Milan Grygar has been exploring the specific concept of relations between visual and acoustic in very diverse and often contradictory parallels for more than five decades. The fact that in the context of the Czech art scene Grygar is absolutely remarkable, is influenced by his interest in experimental music and the follow up of the development of international inter media tendencies based in the contemporary avant-garde music (beside the system of free atonality of Arnold Schoenberg, we can mention the Notation of New Music by Erhard Karkoschka and the aleatoric concept of John Cage).

With regard to other artists experimenting with the new music and its alternative graphic notations, Grygar`s work was defined mainly by the possibility of correlations of acoustic and visual components which determine each other. In the case of Milan Grygar, sound is not tied to the artwork just by associations based on synesthesia (however it is possible to think about his work in this way, without any interpretative framework) and it is also not a completely autonomous element. It is a completely unique principle in art, when the acoustic perception gets a fuller emphasis when creating the artwork in such a sophisticated way that the picture becomes actually retrospectively an instruction, a transcription of how to read it once more, but on the acoustic level this time.

By trying to clarify the process itself and the direction of motion, he additionally discovered (with the help of tape and video recording) the hidden potential of this twofold connection. This dual dimensionality of visual and acoustic he later completed with the actual recording of the work process. He connected all three levels through mutual time unity and to a simple visual expressive power of the art piece. He, thanks to the sound, added the possibility to define the space and by adding the option to also record the process at the time.
 
The phenomenon of sound has permanently been present in Grygar’s art work since the mid-60s, when the artist, after focusing fully on the medium of drawing, systematically started to examine it and to record it. The sound, at the beginning defined by a series of individual strokes issued by specific instruments, became an unusual parabola to the visual rhythm. After a series of drawings and paintings with wooden sticks, and acoustic drawings, with the help of other typical tools, he developed polyphonic possibilities of drawing gestures, especially with the help of mechanical self-propelled machines. For those living drawings, as well as in other drawings with a performative character, especially tactile, there is a huge influence of the chance, which, while probably trying for the closest connection of visual and audio elements, he replaces his own will by more objective, not dependent factors. However, the element of presumptive chance is firmly controlled and determined by the artist himself.

In consequent repetition of drawn syntactic formula of the square grid in other types of drawings so called audiplastic and black and white and white and black canvases with linear grids, the sound is shown in different ways, that violate the monotony of structure either by a change of the rhythm, colour or by adding some other drawing element. The acoustic quality of Grygar‘s drawings within modern musical notation is more noticeable in his ranks of formulas and scores. These were, no doubt, created with the idea of a specific audio result. The possibility of interpretation is also open and the presence of the artist at the musical interpretations is absolutely vital.
 
After more than twenty years, the artist returned to painting a series of black paintings with colored linear elements based on the contrast of monochrome surfaces and sharp, complementarily coloured lines of fixed light.The very large and also very diverse series of Antiphons is created by minimalistic geometrical shapes and subtle lines, which are gradually accentuated with colour. However, the use of bold colours can be dated back to the 60s when the artist created the original models for Spatial scores that were produced in monumental scale almost half-century later. A radical shift occurs in the newest work, where Milan Grygar steps back from the variety of colour and returns to the using of a piece of wood to create a series of large scale drawings and paintings.
 
T: Denisa Kujelová
 
 
                                                               


Václav Stratil / Landscapes

-

Fait Gallery 
Ve Vaňkovce 2, Brno
21. 9. - 19. 11. 2016
Vernissage: 21. 9. 2016 at 7pm
Curator: Jiří Ptáček
 
The further extended continuation of Stratil’s exhibition Landscapes shows the next chapters in the life work of the Brno painter, illustrator and performer in relation to his friends, colleagues and students. Besides the older and often legendary works (legendary because they are brought to the younger generation by the memories of the older generation) we also introduce the artist's current work with photos and text. The main theme of the exhibition Landscapes, however, is the relationship to others and showing yourself in "analog" social networking and communication.

Resumption of the second, further extended completed version of Stratil’s exhibition will, in addition, become an opportunity to release the author’s new music album "Láška" (translation note: play on words, seems to be pointing to the word ‘Love’), which was created with the contribution of the Fait Gallery. "The album „Láška“ with old as well as new songs is the second set of Stratil’s musical production.
________________________________________________________
 
"It was not just a repetition of the act of usurping of the classic works and reproducing them under his own name, because objectively and for Stratil's also subjectively it could have worked just with Boštík with all aspects that this exact option has, starting with the fact that Stratil is Boštík‘s younger friend, who really loves him, despite the fact that just Boštík’s works really have the spiritual quality that makes them something extraordinary, to the the fact that Boštík is now primarily a subject of a market and a victim of our fast newly rich."1 A passage from a text by Jiří Valoch, written a year after Stratil exhibited photographic enlargements of black and white reproductions of paintings by Václav Boštík2, seems to be an appropriate introduction to the topic of the exhibition Landscapes. On the one hand Valoch mentiones basic statements that led to its organisation, but using specific examples it points out the layers of meaning, which in our case, are specifically because of the chosen concept, suppressed. The semantic and contextual diversity of Stratil‘s works here is suppressed by the conceptual key of the exhibition, which is observing the artist's creative approach to other people and their work.
 
Should the key fulfil its purpose, it is necessary for it to unlock the room, or at least the door of the house. At the exhibition, where we, next to Boštík‘s reproductions, present a photo album from the second half of the nineties, in which Stratil handled the personal and family history in different ways, or album created by his father and exhibited by the artist as ready-made, but also for example the "mutual monochromes" with Jan Nálevka from the end of the same decade or recent, partner-painted paintings with Martin Helán, however, we can still trace Stratil’s continuous interest in "authorial connection". Provided Jiří Valoch in his text says that the usurpation could work just with Boštík,3 he covers the aspects of intimacy and intensity that Stratil is attracted to in the long term. If we mention, for example, "stealing" of the principle of symmetrical portraits from the photo collection by Jiří David Hidden forms (1991-1995) and their use for self-portraits (1998)4, or the colouring in of his father's teaching tables (Latin, 2009), a strong personal relationship was always a fundamental dimension which preceded the creation of such works. The variable in this direction was (and remains) only the level of articulation of the relationship and of course the role of collective work, citation or appropriation in the context of contemporary theoretical debates. Should his works, in the nineties, be seen as a commentary on the identity of the image and the importance of authorship, or as movements in quadrature proximity-distance-originality-non originality, ie within the intellectual horizons of this phase of Czech post-modernism, with the transition into the new millennium there has been increasingly promoted the perspective of personal involvement.
 
Stratil‘s motive may be based on the relation to another person, but also on a specific artistic collection or an individual art piece. It can not be strange to him, it must catch him, he must be interested, or at least be irritatred. "The combination of modernism and postmodernism," thus happens somehow unusually - as calling the personal commitment and intimacy back into the spotlight.
 
The title of this exhibition is derived from a photo collection Czech landscape (1998-1999)5. That was arranged by Stratil as a map of his professional partners and friends. If these photos appear alongside other series, such as photographic Couples (2002-2003 and 2015-2016), we want to emphasise this very level of personal maps. The thoroughness and persistence of drawing through out is the first aspect that does not have a competition in the Czech art scene. The second and even more important aspect for us, is the increasing need for an intense relationship. Without wanting to prefer its psychological interpretation, we need to realise that we see Stratil as a solitaire focused mainly on the investigation of himself. The exhibition Landscapes does not deny this dimension of his artistic work, but reminds us of the importance of establishing a relationship and its public manifestation of a coherent and distinct line within his work. I would not be surprised, however, if you would have, besides intellectual game, passion, humor or pathos, also noticed loneliness that fatally follows those who so strongly urge for the other person.


1. Valoch, Jiří: The art combining modernism and postmodernism. In: Daněk, Ladislav (ed.): Václav Stratil / Drawings 1955-2000. Olomouc Art Museum, Olomouc 2000, pp. 65.

2. Václav Stratil. Collective exhibition, Nová síň Gallery, Prague 1997.

3. Also important was the resemblance of the enlarged reproductions of Boštík’s pictures with Stratil’s ink cross-hatching drawings from the second half of the 80s.

4. Václav Stratil. Hidden forms. Behémót Gallery, Prague, 1998.

5. In the enlargements of the publicly presented one only once so far – at the exhibition with the same name in Malá galerie Galerie Rudolfinum in Prague (1999).

T: Jiří Ptáček

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