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

 

                                                                                 


Nika Kupyrova / No More Mr Nice Guy

-

Fait Gallery PREVIEW, Ve Vaňkovce 2, Brno
 
Opening: 17. 10. 2018 at 19:00
 
Curator: Václav Janoščík
 
Art projects by Nika Kupyrova don’t have a unifying or stable meaning; instead, they open before us an opulent universe of materials, objects, references and languages.
At the current exhibition the artist makes use of a series of sci-fi novels by Iain M. Banks taking place in a futuristic civilisation known as The Culture, and of his symbolic or ironic names of starships that are in fact living creatures. We can observe works and objects that use their names as a process of creation, control and manipulation of meaning and sense. The artist draws us into suspense between the comprehensible and the unclear, an object and an artefact, the human and the extraterrestrial, between signs and surfaces, truth and fiction, the present and the future.
Such is the role of aesthetics, from Immanuel Kant to Iain M. Banks. We must constantly change and find new forms and languages enabling us to see more than just these dichotomies; we might discover affects and details deeper under the surface of phrases and ideas - and possibly also beauty.
 
"Serious Callers Only"
 
I am Václav and you, you are called Nika. When I was little I was quite dissatisfied with my own name; it seemed too conservative. The Czech national patron is Václav and so are the two Czech presidents after 1989. 
 
My name is exclusively used in the Czech cultural context and is basically impossible to pronounce or substitute in other languages. And your name – Nika – immediately brings up an association with Eastern Europe to me.
 
We are all being called callers, but we ourselves are the callers. We use names to comprehend the world, we cover things up with words to create or solidify their meaning.                
 
“No More Mr Nice Guy”
 
The problems get even deeper if you come to be labeled not only by you real name but a nickname or a metaphorical expression. Let’s say you are being called “Mr Nice Guy”.
 
In folk psychology and these self-help manuals this stands for being overly helpful and positive, always trying to avoid conflict and resorting to a compromise or a consensus. 
 
"Kiss My Ass"
 
Sounds pretty fine at first, but involves a lifelong problem, believe me. While we usually accept the whole idea of democracy rooted in tolerance and in seeking consensus, sometimes you have to decide for yourself.
 
Sometimes you must simply step out and act against the odds. Sometimes you might need to swear and tell to "kiss my ass". I mean – so much for subtlety. Sometimes you must fight for your name.
 
"So Much For Subtlety"
 
Don’t worry, I don’t mean to imply any sort of chauvinism, machoism, egoism, resentment or indifference. The opposite is the case. Even if we fight [fait] for emancipation, for feminism and equal rights, we should take names seriously.
 
E-mancipare – means “to step out” in Latin. You see – no more Mr Nice Guy. It means to use your voice and claim your own name, a banner to fight with. So don’t worry – of course we still love you.
 
"Of Course I Still Love You"
 
Speaking of love. I always have this restless feeling. Sometimes I cannot help but simply love you. To crave your presence, words and sometimes even touches.
 
And I wake up. Still called the same. And I have to confront this limit to my aspiration in life, with my civil and somehow boring name. An awkward fact or a situation I would like to disregard.
 
“A True Disregard For Awkward Facts"
 
This is the game we call naming. Yes, indeed – giving a name can be a thrilling, lavish procedure. It might not just give you an account of what or who someone is. It might also trigger a narrative, a perspective; a joke, pun or a twist.
 
Frankly speaking, and finally explaining our little game with names – we refer to Iain M. Banks and his series of sci-fi novels based in The Culture. Where every piece of spacecraft is an actual sentient being, endowed with their own witty name. 
 
"Nervous Energy"
 
The point being – it’s not just about us; it’s not just the fucking humans who matter. It’s the animals, the fictions, the world itself or a spaceship that can be brought to life, soaked with meaning and endowed with a name.
 
Paradoxically enough this super-anthropocentric phenomenon of giving names can present a process through which we do away with human self-centeredness. A process through which we are getting closer to the nervous energy of art and things.
 

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