23.05.2018 - 04.08.2018
Fait Gallery, Ve Vaňkovce 2, Brno
opening: 23. 5. 2018 at 7 pm
A grid becomes a symbol of organisation in the most general sense of the word, a kind of order of things, and at a symbolic level also a world order.
- Jan Nálevka
The A4 format paper is the most widespread kind of paper in both households and offices. We use it to print ordinary documents, for photocopying, notes and sketches. It is also used for the printing of formal court decisions, meals of the day in cheap restaurants and university theses, as it is the only format with which one can be sure that the diploma work will be bound in covers imitating leather as late as an hour before the deadline. Files for this size are available from any stationery shop, and millions of sheets pile up in millions of metres of office archives. Text editors now offer the digital version of A4… The standardized A4 format is guaranteed by the ISO 216 international standard for paper of the A, B and C categories. The first attempts at standardisation go back to France during the Revolution in the late 18th century. The main advantage of this proportion of sides is the simple division in halves after which the sheets retain the same proportion of sides. The major benefit of the adoption and dissemination of the standard was its compatibility and coordination of the manufacture of a whole spectrum of products. Nowadays, when you ask someone to picture a “common sheet of paper”, they will most probably visualize paper of the A4 format.
When lining A4 sheets, Jan Nálevka adjusts the drawing to the standard. He opts for a neutral handwriting, and steps back as an artist. He uses blue ballpoint pens in order to emphasise office work where the compliance with prescribed administration procedures is essential. Reams of paper covered in lines and square grids are virtually indiscernible from mass-produced prints. And since Nálevka further segments the paper with lines and square grids, while in fact still preparing it for writing and drawing, he can talk about the creation of “standardised blankness”, a blankness achieved through work. Its volume, as well as the time it requires, are not proportionate to the result. However, in their reflection there is always space to realise the absurd nature of this activity. Nálevka’s drawings can thus be considered implicitly critical, yet at a more general level they are abstract visualizations of an order introduced into art, or into a work activity as such. And in its ultimate form, the segmented A4 paper format is a symbolic representative of standards predestining our factual possibilities, shaping our perception and behaviour, and providing a basis for our imagination in the private and social dimension of life.
The And now, finally, let’s finally turn the page exhibition can be understood as a public audit due to which the material that in the previous decade had progressively emerged at preliminary, autonomous and semi-autonomous presentations was gathered in a single place. And although the show exclusively presents drawings from the years 2009—2018, it captures Nálevka’s thinking concerning the external conditions of the organisation of human life. It is divided into three basic sections. The first one observes the subjects of the basic organisation plan and “standardised blankness” as the consequences of the adopted art-work load. In the second section, the issue of the time invested in the drawings, and lost, comes to the fore. Finally, in the last section Nálevka abandons the point of view of an individual and with plans drawn over reproductions of books on modernist art comments on the historical and possible future social orders.
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