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.

                                                                   


Svätopluk Mikyta / Ornamentiana

-

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

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