Šárka Koudelová / Our Bodies So Soft, Our Lives So Epic

While loosely following in the wake of the previous exhibition, the second part of this overview of the Fait Gallery collection represents, in a certain sense, its opposite. In contrast to the previous instalment, which primarily represented abstract art from the second half of the 20th century, with a focus on geometry and structure, Czech modernism and its resonance and evident influences in contemporary Czech painting, this exhibition directs its attention towards art that places greater emphasis on depicting the real world. Contradicting the artists working in the spirit of geometric abstraction, presenting more universal subject matter, these works are inspired by reality, depicting it more or less explicitly while bringing to the forefront an appreciation of the human figure and its depiction.

It is precisely this fascination with the human body and physicality, manifested either directly or metaphorically through fragments, tools, and situations inextricably intertwined with it, that forms the framework of the exhibition. As such, the exhibition features a number of works reflecting themes such as sport, while at the same time exploring a certain existential decadence as well as aspects of humour within the context of this fascination with the human condition.

Chronologically, we loosely move on to works created predominantly after the year 2000, which is also evidenced by the wider representation of the medium of installation, an example of which is the large-scale work Deep in Enemy Territory by the Rafani Group, one of the group's most extensive projects. The installation fulfils an integral part of the exhibition and, as was already mentioned, comments on a complex psychological situation through the relationship between visual art and the symbolism of sport.

The exhibition follows a predefined selective framework, yet it does not aspire to present an indisputable message regarding a specific issue or topic, a fact that is understandable given its nature. It does, however, seek to showcase the fruits of Fait Gallery and Igor Fait's extensive collecting activities over the past 15 years, to present a series of high-quality works by both Czech and foreign artists, to allow them to come into their own in their individuality and, at the same time, to present the sphere in which these individualities coexist and support each other within a compact whole.

Ondřej Kotrč

Represented artists:

Vasil Artamonov & Alexej Klyuykov, Alžběta Bačíková, Ondřej Basjuk, Nina Beier, Marie Blabolilová, Josef Bolf, Radek Brousil, Jan Brož, Michel Comte, Milena Dopitová, Markéta Filipová, Jiří Franta & David Böhm, Jan Gemrot, Martin Gerboc, Michal Gogora, Damien Hirst, Katarína Hládeková & Ondřej Homola, Katarína Hládeková & Jiří Kovanda, Jakub Hošek, František Hudeček, Matyáš Chochola, Krištof Kintera, Eva Kmentová, Vendula Knopová, Vladimír Kokolia, Jiří Kolář, Eva Koťátková, Ondřej Kotrč, Alena Kotzmannová, Denisa Krausová, Nika Kupyrova, Alicja Kwade, Martin Lukáč, Kamila Maliňáková, Pavla Malinová, Pavel Matyska, Marek Meduna, Jan Merta, Svätopluk Mikyta, Kamila Musilová, Jan Nálevka & Václav Stratil, Pavla Naďová, Petr Nikl, Michal Pěchouček, Ivan Pinkava, Jan Poupě, Skupina Rafani, Tomáš Roubal, Lucia Sceranková, Pavla Sceranková, František Skála, Matěj Smetana, Václav Stratil, Tomáš Svoboda, Robert Šalanda, Adriena Šimotová, Jiří Topínka, Lubomír Typlt, unconductive trash, Kateřina Vincourová, Lenka Vítková

The exhibition Selection from the Fait Gallery Collection II is a sales exhibition and is the last exhibition of Fait Gallery in its current space at Ve Vaňkovce 2.

Šárka Koudelová / Our Bodies So Soft, Our Lives So Epic

05.06.2019 - 17.08.2019

Fait Gallery, Ve Vaňkovce 2, Brno

Opening: 5. 6. 2019 at 7pm

Curator: Laura Amann

In 2011, on average, one piece of Pandora jewellery was sold every second. At this point Pandora had already become the world’s third largest jewellery company, after Cartier and Tiffany & Co. Mainly thanks to their affordable and customizable charm bracelets — a product that quickly became an omnipresent sight, gift and advertising subject.

Degrees of Love.

Picking daisies.

But Pandora had of course not invented the charm bracelet. So what is the history and meaning of this popular item? What kind of power, symbolism and meaning do we attribute to it and jewellery — loyal companion of humankind, transcending countless epochs and even more generations.

Faith over Fear.
Land that I Love.
You’re My Favourite Chick.

In ’Our Bodies So Soft, Our Lives So Epic’ Šárka Koudelová creates an installation based on the eternal contradiction of the transient and fragile nature of our bodily presence and our desperate attempts to achieve lasting proof of a grandiose life by banning it into a piece of jewellery.

You belong to me.

My precious.

Seductive, play- and masterful, yet also uncanny at times, we are reminded of the complexity these emotionally charged objects bear. A pendant passed from mother to daughter, a lover’s eye commissioned for a secret paramour, an intricate mourning ring made of a child’s hair, a simple yet unequivocally claiming wedding band — it is easy to relate one way or the other to these small scale sculptures, which are only activated by the wearing and tearing body.

I can’t bear your death.
Maybe, if you gaze into my décolleté...

Worn in Ancient Egypt, they played a crucial role in preparations for afterlife. Egyptians obsessively arranged for a prosperous life after death and it was their belief that charm bracelets would help the Gods identify the wearer and his righteous position in after-life. Somehow fitting that Tiffany’s would fit their trademark heart tag bracelet with a “Please return to Tiffany & Co, New York”.

I know I promised but...
I simply won’t fade.
Only you know, you are my secret.

In Georgian times mourning jewellery had focused on ideas of the ‘memento mori’, a concept created to constantly remember that everyone would have to die — obviously this reminder can be read in two ways, namely either inciting to enjoy life to the fullest in light of its finite and fragile nature or to lead a correct and good life in order to achieve entry in heaven — so ask yourself which one will it be?

I will never forget you.
But still, I have to remember to die.

Shape of Love.
Sparkling Snail.

In either case the tension between jewellery and the human body is clear. The ephemeral shell of the body, is made of a material where the slightest influence will leave a mark on it, be it a pebble stuck to the palm of our hands as we sit on the ground, a blade of grass cutting into our finger while picking a wild flower giving way to a droplet of blood or a wedding ring that has become to tight with growing age.

I will love you forever.
If you focus on the curve of my earlobe.

Jewellery on the other hand achieves two crucial things our mortal vessel is not capable of — it transcends time and it has the ability to formulate and constantly communicate messages so pathetic, so exaggerated or so tasteless that

we could not or would never do so in person. Our Promise.

True Uniqueness.

As if the current insecurities and constant angst we experience would not be enough, Koudelová introduces a further message into her installation: following the art-historical painterly tradition of ‘world landscape’ where the hierarchy of subject and setting is forcefully inverted, what we usually regard as mere backdrop is expanded to an overwhelming presence, further emphasizing

the minuteness of the dwarfed subjects. We
are invited to experience a delightfully anxious journey without actually leaving the spot. So take a moment. Take it in. Our Bodies So Soft... Our Lives So Epic?

Adventure Awaits.

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