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. 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. 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.“ A picture is often the only thing left of something that once existed. It is a notch of a knife in a cupboard.
 E. H. Gombrich. Umění a iluze. Studie o psychologii obrazového znázorňování. Praha 2019, p. 235.
 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).
 Ivan Blecha. Prostory zjevnosti. Dílo ve struktuře světa. Zlín 2018, p. 129.
Fait Gallery MEM
Ve Vaňkovce 2, Brno
30. 11. 2016 - 17. 1. 2017
Vernissage: 30.11.2016 at 19:00
Curators:: Lucia Tkáčová & Anetta Mona Chisa
Svätopluk Mikyta experiments for a long time with materiality and visuality, and in his work playfully rearranges potential of the existing in the direction to the past and the future. His work is "hauntological" (Derrida), meaning that his themes and the creative process are marked by the „disjointed time". He does not address the time point of pure origin, always only the absent presence: big and small history, remixing of signs and symbols, designing new iconographies, samples of the new collective memories, alternatives of the reality tunnels, creating new beginnings and new ends, recycling of the old grammar, discarded books and dumped materials.
ORNAMENTIANA creates a fresh grid of correlations and searches for a new aesthetic. Remix of techniques and materials, collage-like installation approach, exploration of the very notion of „art” lead to a choreographed experience that includes the viewer into the overall assemblage.
ORNAMENTIANA changes the axes of our three-dimensional arena. It is based on Cartesian choreography of space, on regular but also moving grid of horizontals and verticals.
ORNAMENTIANA is a levitating surface full of relationships moving to the complexity of time and space, a visual manifest, detachment from the gravity of the committed towards the infinity, weightlessness, universality.
ORNAMENTIANA is a horizontal landscape, flat surface, horizontal sculpture, in which the unique vertical is made by the visitor of the exhibition, whose presence expands it by another coordinate.
ORNAMENTIANA reconstructs and translates ornaments, renders new visibility and allows the viewer to feel the archaeology of time. It is reoccurring use and subsequent stigmatization of folklore. Past future, future past.
ORNAMENTIANA is the acceleration of existing aesthetics. Exploring of the visual and material nature of perceiving of the world here and now. Anadigilogtal.
ORNAMENTIANA reviews the formal aspects of art on the border between high and low, the circumstances of their production in the context of never sleeping society.
ORNAMENTIANA is non-hierarchical, de-centralized, de-politicized. It denies the affirmative, fixed position, proclaiming, barricades and it contradicts our vision about our demonstrative political-activist gesture.
T: Lucia Tkáčová & Anetta Mona Chisa