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



FRANTIŠEK SKÁLA / TWO YEARS' VACATION

26.02.2020 - 25.07.2020

Fait Gallery, Ve Vaňkovce 2, Brno

Opening: 26. 2. 2020 at 7pm

Curator: Miroslav Ambroz

 

In my past lives, I was a hunter and a gatherer. I would always start my everyday routine
with decorating tools, weapons and creating musical instruments for myself.

1) Even though you were considered as the creator of spatial objects, in this exhibition your major emphasis is on paintings. What was the impulse?

The new atelier, where for the first time in my life, is light, space and warmth, this helped me to finally start painting. An eternity of horizons was open in front of me, together with two big travels to Columbia and Australia, I understand this happy season as staying on an abandoned island, therefore the name "Two years’ vacation".

2) In 2004 you painted large format canvases "Roads of swifts" and "Mother Earth". In the sametime frame you also painted "Chaple of Karlin", and even before that, "Envelopes" were created, therefore in your own way you are continuing with something that was created long before? 


Of course, I was already painting in the '70s during my studies. Back then I inherited very rare pigments from prof. Slánský, which I am using presently. The first time I used them was during my exhibition in Rudolfinum, when there was a need to paint something great for "Silent Hall" and a figure of the central deity arose, which is appearing in my works in different varieties. Connection with the material was always important for me. The type of work on the ground on the non-gesso canvas, together with water diluted pigments and acrylate bonds demanded this physical contact. Even in some places on the paintings, there are my footprints. 
 
A wall painting "Chaple of Karlin" was in somewhat a cleansing exhibition after the floods in 2002, and according to an agreement I had to turn it white. The oldest envelopes date back to 1986. The style of their decoration is connected with the style of "Third rococo" and that epoch is accumulated in my works. In the '90s I created multiple large format envelopes, which I perceived as the object/pictures having multiple-meanings and it opened an inexhaustible line packed into certain cushions, similar to guitars. This is related to my favourite non-standard formats (ovals) and adjusting large canvasses "free" without the stretcher bar.

3) What was most interesting thing about Australia?


First of all never ending space and starry skies. Five weeks, every evening by the fire in the desert. Furthermore, colours and rock paintings as old as 60 000 years. This was the first time I have seen baobabs and eucalypti that were 800 years old, which existed way before the arrival of whites... breathtaking scenery. I brought back a lot of collected materials and natural clay, with which I am painting.  Australians have a "story" for each god, they are mostly cautionary stories, which have helped to keep the tribes viable. It appears to me as there are various imaginary divinities, however, they were born from the transcultural backdrop. Something interesting is that the rock paintings and figures on it are very similar all around the world, but I am not the type who would study these things in much detail. On the other hand, I deliberately keep certain blindness, to be astonished, and I would recommend this to consumers. Those who ask too much will learn too much.

4) Some rusty images look a bit apocalyptic, did it have any specific impulse?

"Rusty images" are painted by some rusty mud from a forested swamp in West Czech. In fact, they are ferric nano-shells of microorganisms. I discovered this beautiful colour in the '70s, which came back to me now, to extract it artistically. Thematically, they partly follow the cycle of thermo-drawings "Landscapes from Timelessness" or the cycle of graphics "Giants", where the power of nature is personified into supernatural beings. People desire to witness a miracle or other paranormal acts, and we have this advantage that we can also paint them. Also, people are drawn to the aesthetic of natural disasters and the theatre of extinction. Towards the end however, the road took me elsewhere. 

5) When you were in Columbia, did you try yagé -the most renowned shamanic hallucinogen?

I don’t need to check what I suspect. I don't need to meet God. I don't want to upset him. He
could stop passing me.

The interview led Miroslav Ambroz

 

                                                                                 


Denisa Lehocká / Luno 550

-

Fait Gallery
Ve Vaňkovce 2, Brno
30. 11. 2016 - 17. 1. 2017
Vernissage: 30.11.2016 at 19:00
Curator: Vít Havránek

Although in various exhibitions by Denisa Lehocká some objects seem to repeat, for every exhibition the artist compiles newly produced works, drawings, paintings and materials. After they have been finished she saves them in the darkness. The final art piece is thus formed of layers, in which some of the processes and objects repeat, others change based on changes of the circumstances. And this is even the case with the installation in the monumental space of the Fait Gallery.
The author describes her work as a three dimensional collage. By this she directs the observer to the views from two perspectives. From the point of spatiality, ie the history of sculptural plasticity. In this line, the viewer follows the sculptural references of forms to organic abstract sculpture, Lygia Clark and minimalism, Buckminster Fuller and Shigeru Ban. Spatiality in the meaning of a site-specific can describe the relationship of objects to the specifics of a particular place / non-place. The second perspective to which the author draws the viewer's attention is a collage. Collage as a symptomatic approach by avant-gardes of the 20th century using vivisection and stapling fragments of reality in many references from dada (Schwitters, Hausmann), through cubism, but mainly surrealism (Ernst, Oppenhem), avant-garde of the 60s (Oppermann) to the collage of forensic methods in discourses of the truth.

For a description of the sculptural parts of the installation by Denisa Lehocká (because it contains also objects) fits the concept of a slow statue. Slow sculpture: repeated soaking and drying plaster, embroidery thread, sewing beads, paint sedimentation, drying of saturated solutions, entanglement and stranding of threads, cotton, rope, etc. The slow statue not only arises slowly, but every procedure used has, within the group of sculptures and objects, guaranteed the necessary time for proceeding. Although the slow statues do not contain expressiveness, or gesture, the author can’t delegate those to third parties. The materials used are readily available, limited, which reminds the viewer of Art Pover and following trends. The dimensions of the objects are rather small, handheld, citing either a minimalist approach of putting one thing after another, or are arranged in nests, which comes from the organic set up. The form even the antiform. Objects are accurate: plaster rotating shapes created by repeated soaking and dripping plaster under the influence of gravity, artfully rolled ropes, braided leather cord, embroidered, quilted and layered fabrics, empty bowls, plastic sheeting with a hint of color, twigs painted with colour, upstands, bases, beads, saturated salt and sugar solutions, stones, cut stones, gold and celery root. Dozens of drawings on the edge of the test of colours and pigments, variations on geometric sketches, embroideries and diary entries.

From an art theorist or art historian it is required not only to translate the sensory data into verbal descriptions, but with analytical observation and historical knowledge to reveal the contents of artistic works. However, revealing is a confusing word. Ruth Noack in the text of Who's Scared of Denisa Lehocká? [1] comes with a few suggestions on how to interpret this work. I would like to follow up on one of her arguments preceded by the question: how do I know, how can we prove that the artist is not crazy (and that, for example, what she does, is not just a game imitating artistic practices)? Lehocká is not supposed to be crazy, because she knows what she does. Such an argument would not prove to be right, because people experiencing mental disorder typically do not doubt what they are doing and experiencing, whether it the most unreal thing. I prefer to ask how to define normality? Gladys Swain define mental illness as "a state of separation from the common sense." Melanie Klein on the other hand argues that the schizo-paranoid state, is a fate common to all subjects after their birth and normality is a way how to pacify and overcome this initial state.
Noack asks the question so openly, because she can see that the creative process of Denisa Lehocká takes place outside the functions of language and is found in the area of pre-connotation. As per Noack, Lehocká tries to postpone the possible thoughts about the meaning of art as far as possible. She works beyond the point where "to it / meaning the art / the connotation digs its claws." A similar place can exist either in one's mind (and then it would be a mind removed from one of the functions of intelligence, that is being referred to "healthy" by the social censor), or in non-human epochs or universes. It seems that Lehocká has just constructed a similar space. It is a space defined on one pole purely by empirical focus on the physical and chemical processes of materials of natural character that she works with - layering, pouring, dripping, evaporation, drying, becoming drying, painting, cutting, adding, removing ... On the other pole there is an authorial subject that although "knows what she's doing," she refuses to add a meaning to her actions. And if someone wants to enter the space where the forms are without meaning, it seems that to remove common sense is a necessary condition for a walk through. It is not about art brut, nor temporary, stimulated or controlled madness. How Noack notes it is not even passage into the space of unconscious, automatism. It actually is a syncretic mix combining the methods of art history of last century.  

If we somehow deepened the nook of pre-connotation, it would be a mistake to immediately wrap Denisa Lehocká’s art work by speculation about what they should have or may imply. That is the challenge with which the artist turns to the viewer. A mediator - curator, theorist, historian should not act as an expert or the owner of the interpretation key, but as one of the most ignorant viewers.



[1] A. Kusá, M. Mitášová, D. Lehocká, Denisa Lehocká, SNG Bratislava, 2012, pp. 17-25.

 

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