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

The first of two overview exhibitions assesses the collecting activities of the Fait Gallery, initiated by Igor Fait and systematically developed since 2012 in synergy with the chief curator Denisa Kujelová, who worked in the gallery until mid-2025.

Given the extensive nature of the collection which comprises over 1,000 items, and considering the multiple artistic approaches and the time span covered by the collection, which ranges from the pre-war avant-garde to contemporary art, it appeared natural to organise two consecutive shows.

In order to maintain a certain homogeneity in the exhibition, it was necessary to find a simple and universal key for selecting the artists and individual works. In most cases, this took the form of an abstract geometric-constructivist tendency which, with a few exceptions, involved pure minimalism, while in other cases it was softer abstraction with connotations of a reality-inspired starting point.

Part of the exhibition is devoted to the presentation of pre-war modernism, making up the core of the collection from the very beginning. It is the cubist tendency, evident in the works of Emil Filla and the more frequently represented Antonín Procházka, that forms a link with the mentioned geometric-abstract tendency which in many cases takes on a mathematical character in the works of artists active in the second half of the 20th century.

In connection with cubism, it is also necessary to mention that the exhibition includes several works related more to contemporary art which can be described as explicitly figurative, mediating a kind of neo-cubism and thus making an exception from the rule within the exhibition concept.

A confrontational aspect is supplied by the younger generation of artists fluidly incorporated into the exhibition. They function as a subtle refreshing and at the same time convey the message that the recycling of basic forms defined in the first half of the 20th century is still relevant, even though the artists' starting points are now quite different.

From the media perspective, the exhibition provides an overview of the segment of the collection that exclusively addresses traditional art forms such as painting, drawing, graphic art, objects, sculpture, assemblage, and various types of collage.

The overall aim of the exhibition is to present the part of the collection relating to the mentioned trends, to define and demonstrate formal and content-unifying elements among artists across the given time scope, and to set them in a mutual context.

Ondřej Kotrč

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.

Go back