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



Jan Merta / Return

21.02.2018 - 05.05.2018

Fait Gallery

Ve Vaňkovce 2, Brno
Vernissage: 21.2.2018 at 7 pm
Curators: Denisa Kujelová & Jiří Zahrádka

Return is the movement of the Tao, yielding

is the way of the Tao. Ten thousand things

in All Under Heaven are born of what there is.

What there is is born of what there isn’t.

In a distinctive visual style rooted in his personal memory, Jan Merta transforms real-world subjects into specific projections of his own experiences. This unusually sincere approach is in its intensity and truthfulness towards the viewer remarkably transferrable and communicative. In most cases, the artist chooses as the subject matter of his paintngs, drawings and objects things and situations on the edge of ordinary attention that, however, are personally highly important for him. By removing them from their original context and by their free processing he fills them with new contents. The pure essence of seemingly ordinary objects demonstrated on a monumental scale with the use of unconventional; spatial structures provides Merta’s paintings with a strange tension, which is in some works even intensified by the refined employment of light and the atypically approached relationship between object and area when an accentuated background creates an illusory perspective.

All of Jan Merta’s works have their own raison d’etre in particular stories, and his art is so closely linked with personal experiences that it could be understood as the artist’s diary records of events, experiences, memories and reminiscences of people, objects and places. Every new painting is for him a return in thoughts, and it is therefore hardly surprising that he has chosen this word for the exhibition title. However, it should be viewed at several levels of meaning: apart from the tite of a sculpture, the motif of return also refers to the show itself, organised in exhibition rooms to which Jan Merta returns with his new project after eight years. First and foremost, it refers to regular returns to the artist’s key theme circles, as well as to particular motifs which are, nonetheless, always approached in a different way.

Within the Return exhibition, sections such as Liberec are important; the artist returns in it to the places associated with his childhood and has worked on it, on and off, for several years, as is the subject of civilization threats and cultural codes as homage to Old Masters and specific works of art. One example is Goya’s painting Third of May 1808 (1814) from which Merta borrowed the motif of a lamp. The lamp as a source of light is a vital element of the picture, not only in its form but also in its content, and Merta has utilised it several times. Last but not least, the exhibition presents works referring to the artist’s penchant for Eastern philosophy. In 2010 and 2013 Jan Merta designed the book Laozi translated by Oldřich Král, and his close friendship with this extraordinary figure reinforced his interest in Chinese philosophy. In the Fait Gallery exhibition project this leading sinologist agreed to incorporate into the LAOZI installation his sound recording of the book accompanied by Merta;s paintings with fragments of cups and saucers. These symbolize clay vessels: according to the teaching of the Tao, the meaning and purpose of their internal parts only come from emptiness.

                                                                   


Christian Weidner a Lukas Kaufmann / ERASE/REWIND

-

Fait Gallery PREVIEW
Ve Vaňkovce 2, Brno
21. 9. - 20. 10. 2016
Vernissage: 21. 9. 2016 at 7pm
 

The Islamic State is the most successful terrorist group in human history. They receive global recognition through their smart use of social media, which results in many young people joining ISIS in order to take part in the Jihad. The propaganda videos show very graphically the execution of their prisoners and enemies and shock repeatedly the world. Those professionally well made clips draw especially our attention because of the familiar look we know from Hollywood movies and TV series. It happens vice versa when we try to cope with the shown cruelty: We reference pop culture when we watch those videos. As long as we think these atrocities could be fiction, the whole content remains digestible and can easily be transformed into entertainment. The smallest unit of entertainment is a joke - one central piece in the exhibition “Erase / Rewind“ - found in the commentary section of an ISIS article posted by the avant-garde blog gawker.com.

Gawker.com hosts also an article which became infamous in 2011. Asma al-Assad, the wife of the Syrian president Bashar al-Assad, was glorified as “A Rose in the Desert“ in a long article originally published by the magazine Vogue, right before the civil war started and the situation for millions of Syrian citizens escalated. Not only the wife as a fashion icon was subject of the article, but also Syria’s exemplary role in the Middle East: The Peacemaker! A couple of weeks later, it was revealed that the article was financed and commissioned by the Assads to promote their country, as well as to distract from their vicious style of government, which lead to the initial protests - as part of the Arab spring - and to the ongoing civil war which still keeps the world in suspense. After the article was pulled from the Vogue’s website, it can only be found in the hard copy of the March Issue of 2011, on gawker.com and the pro-Assad website presidentassad.net: As a masterpiece of propaganda!

The Assads are passionate users of Instagram - another channel for their propaganda. One post shows a picture promoting a flag contest for the Syrian Independence Day in 2014, for which you could submit your self-drawn flag of Syria. The example drawing in the photograph was made by one of the Assads’ children with color pencils. It is striking how the Syrian regime exploits social media (and even their own kids) in a similar smart way like ISIS does. The images are touching in their kindness and appeal successfully to our sentiment. Without saying, the staged photos contradict many facts and the Assads fictionalize successively real life.

In the exhibition “Erase / Rewind“ the artists Christian Weidner and Lukas Kaufmann operate like a watch group: Within the ephemeral world of the internet and media coverage, digital information can be forgotten very quickly and in terms of emotional response, can make us look like fools very easily. The hard copy in the form of painting and object witnesses irrevocably the present time and functions as physical evidence against the lies of any oppressor. By layering the propaganda and anti-propaganda material mentioned above, a new method of infiltration is created. The exhibition “Erase / Rewind“ envisions a future, which mistakes reality for fiction: “This is how you can have peace!” (Bashar al-Assad in “A Rose in the Desert“)

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