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



Petr Veselý / A Knife in the Cupboard

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.[1] 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.[2] 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.“[3] A picture is often the only thing left of something that once existed. It is a notch of a knife in a cupboard.

 

 



[1] E. H. Gombrich. Umění a iluze. Studie o psychologii obrazového znázorňování. Praha 2019, p. 235.

[2] 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). 

[3] Ivan Blecha. Prostory zjevnosti. Dílo ve struktuře světa. Zlín 2018, p. 129.

                                                                                       


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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