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

 

                                                                                 


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

-

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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