David Možný

Blink of an Eye

 
Kristián Németh

Warm Greetings

 
Jiří Kovanda

Ten Minutes Earlier

 
Karel Adamus

Minimal Metaphors

 
Tomáš Absolon

RAFA MATA

 
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



Petr Veselý / A Knife in the Cupboard

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.[1] 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.[2] 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.“[3] A picture is often the only thing left of something that once existed. It is a notch of a knife in a cupboard.

 

 



[1] E. H. Gombrich. Umění a iluze. Studie o psychologii obrazového znázorňování. Praha 2019, p. 235.

[2] 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). 

[3] Ivan Blecha. Prostory zjevnosti. Dílo ve struktuře světa. Zlín 2018, p. 129.

                                                                                       


ECHO / Selection from the Fait Gallery Collection

-

Fait Gallery, Ve Vaňkovce 2, Brno

Opening: 27 March 2019 at 7pm

Curator: Denisa Kujelová

The presentation of artists of several generations and diverse artistic approaches is always an opportunity to revise established categories and the vocabulary of practice tested by history. The relations between the works from the most extensive selection from the Fait Gallery collection so far are thus showed in regard to the relative borders of defining terms, the works of art and the viewer. Although the attitudes of the individual artists differ at many levels, in most cases they share the reduction of shapes and their fragmentarization, the incorporation of letters and signs into visual compositions and experimental work, and the conceptual precision of ideas.

Owing to the extent of the collection, and despite the generous space, the selected works naturally make only a sample, not a comprehensive one but one that demonstrates its direction. The chosen categories of subjects, the borders of which are blurred with many of the pieces by their blending, serve to link the Czech avant-garde, Czechoslovak art of the second half of the 20th century and their reverberations in contemporary art. A major part of the exhibition is devoted to artists whose work features collage, assemblage and installation, or whose output often manifests the principle of layering and assembling different fragments, symbols and letters. The majority of the artworks thus employ the strategies of repetition, juxtaposition and dislocation of the original shapes and signs.

The shifting of objects or texts from one context to another generating new meanings is one of the defining characteristics of modernism and a procedure which was formerly only employed in art. At present, however, it is a process that has become a determining principle affecting social and cultural life, as well as man as an individual, his identity and personal integrity. Creative procedures of fragmentarization and appropriation have given art a great deal of freedom, which is also why collage and the use of graphemes have counted among the most distinct techniques and means of expression in art since the early 20th century until now, especially for their ability to find connections faster and more spontaneously through the use of reduction and paradox.

The discovery of the possibilities of fragment both in image and typography and its ability to produce metaphors endowed modern art with new possibilities of hidden creative potential such as work with coincidence in dadaism, automatism and free associations insurrealism. Typography only entered visual art in the early 20th century, first in the form of the use of fragments of letters in cubism, later in futurism, dadaism, constructivism, surrealism, lettrism, abstract expressionism, pop art and  conceptual art, and it finally became a natural artistic means.

Although the typewriter started to be used in typographic experiments with language as early as the 1920s, it was not fully used until the 1950s and 1960s during a worldwide wave of experimental poetry. Word ceased to be a semantic unit, being replaced by any sign on the keyboard including punctuation and diacritics. In contrast to the avant-garde and post-war neo-avant-garde tendencies, experimental poetry of the 1960s and conceptual tendencies were inspired by the linguistic system and the attribution of new semantic properties to grapheme. Conceptual poetry was in the Czechoslovak milieu enriched by further possibilities of the semiotic play with letters, and several artists developed in parallel the concepts of tautology, semantic shifts, associative links and complications, repetitive monotonous texts and semantic drawings.

In general terms, the discovery of fragmentarization opened new possibilities in work with symbols, archetypes and cultural stereotypes, and created a template for the redefinition of the existing constructs and the evolution of new approaches defying the previous ones. This possibility also points out the link between works on different levels, despite the fact that the artists represented approach all these creative strategies from different perspectives and with different motivation. The displayed works present the principle of collage, the use of letters, abstraction and reduction not only as means for the search of autonomous artistic form, often with apparent modernist morphology, and a point of departure rich in associations, but also as an element critically related through its essence to various manners of the isolation and separation of individual segments from a whole. Reflecting the origin of visual, verbal, and acoustic entities, the current selection aims at their reconstruction, thus closing a circle of subjects typified by their validity in the history of art and by a universal value in its introspective role.

Tomáš Absolon, Josef Achrer, Hynek Alt & Aleksandra Vajd, Eduard Antal, Alžběta Bačíková, Tomáš Bárta, Ondřej Basjuk, Nina Beier, Marie Blabolilová, Josef Bolf, Václav Boštík, Vladimír Boudník, Radek Brousil, Jan Brož, Robert Cyprich, Josef Čapek, Anna Daučíková, Milena Dopitová, Markéta Filipová, Stanislav Filko, Emil Filla, František Foltýn, Jiří Franta & David Böhm, Milan Grygar, Pavel Hayek, Camille Henrot, Jiří Hilmar, Katarína Hládeková, Ondřej Homola, Vladimír Houdek, František Hudeček, Dalibor Chatrný, Matyáš Chochola, Jiří John, Olga Karlíková, Krištof Kintera, Eva Kmentová, Vendula Knopová, J. H. Kocman, Vladimír Kokolia, Jiří Kolář, Stanislav Kolíbal, Eva Koťátková, Jan Kotík, Ondřej Kotrč, Alena Kotzmannová, Jiří Kovanda, Radoslav Kratina, Denisa Krausová, David Krňanský, Jan Kubíček, Alena Kučerová, Nika Kupyrova, Petr Kvíčala, Alicja Kwade, František Kyncl, Miloš Laky, Radim Langer, Otis Laubert, Denisa Lehocká, Martin Lukáč, Karel Malich, Pavla Malinová, Bohumír Matal, Marek Meduna, Juraj Meliš, Jan Merta, Svätopluk Mikyta, Vladislav Mirvald, Monogramista T.D, Kamila Musilová, Karel Nepraš, Alice Nikitinová, Petr Nikl, Ladislav Novák, Markéta Othová, Marian Palla, Michal Pěchouček, Ivan Pinkava, Antonín Procházka, Rafani, Eva Rybářová, Pavla Sceranková, Rudolf Sikora, František Skála, Matěj Smetana, Jiří Staněk, Jan Steklík, Václav Stratil, Jan Svoboda, Tomáš Svoboda, Zdeněk Sýkora, Jan Šerých, Josef Šíma, Adriena Šimotová, Michal Škoda, Jindřich Štyrský, Jiří Thýn, Václav Tikal, Karel Trinkewitz, Lubomír Typlt, Jiří Valoch, Kateřina Vincourová, Lenka Vítková, Daniel Vlček, Jan Wojnar, Ján Zavarský a další

 

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