ANONYMOUS FORM OF SQUARE

JIŘÍ HILMAR

 
LOVE LIFE

JIŘÍ THÝN

 
THE SKY SERENE AS A VAST AQUARIUM

NÉPHÉLI BARBAS

 
unconductive trash

Largely Observed

 
Tomáš Hlavina

TLNVXYK Puzzle

 
Filip Dvořák

The Ravine – The Room

 
Jiří Staněk

Brightness

 
Petr Nikl

Wild Flowerbeds

 
Lukáš Jasanský - Martin Polák

Sir's Hunting Ground

 
Lenka Vítková

First book of emblems

 
Inge Kosková

Flow

 
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



JIŘÍ HILMAR / ANONYMOUS FORM OF SQUARE

25.10.2023 - 13.01.2024

Fait Gallery, Ve Vaňkovce 2, Brno

Curator: Denisa Kujelová

Opening: 25th October, 7 pm

 

The early work of Jiří Hilmar (*1937) was marked by the art trends of the time, especially the principles of Concretism[1] (whose club[2] he co-founded in Czechoslovakia in 1967), as well as by the activation of the viewer, the processuality of perception and the thematization of movement. Kinetic objects in the form of mechanical machines and objects working with light sources and shadow effects[3]  were followed by several years of the artist's thorough investigation of the phenomenon of mobile procedural perception in paper reliefs folded into optical structures. These mostly square formats of various sizes produced an optical illusion through the movement of the observer and the change of his or her position in relation to the work, thus transforming the visual qualities of the surface.

In the square, whose shape the artist saw as an ideal anonymous form[4]  referring to the ideas of Piet Mondrian, Kazimir Malevich or Victor Vasarely, he created structures in various systems according to mathematical principles and seriality from horizontally, vertically and diagonally arranged monochrome or multicolour strips of folded and, in many cases, also incised paper. The opto-kinetic principle was achieved by varying the height of the strips, their shape, the method and degree of their bending, the method of perforation, and also the shape and colour of the tempera used for individual fragments (most often circles and their sections). The variation of contrasts and intersections continued after his emigration to the Federal Republic of Germany in 1969, where he settled for more than 40 years.

The active involvement of the viewer was also part of the next cycle of works which were defined by a system of overlapping vertical strips or strings. In this new structural plan, in which one of the elements was always firmly attached to the base and the other hung freely above it, the works could again be set in motion, now literally, by the participation of the observer. Parallel to this, in the 1970s the artist created monochromes from layered tracing paper, fixed to canvas or wooden boards, most often also in square formats. The individual layers of transparent paper were only recognizable by their deliberate distortion with various types of creasing, perforation, rippling and gradations or variations of the repetitive regular patterns of the collaged fragments.

After moving to the Halfmannshof art colony in Gelsenkirchen in 1974, located in the heavily devastated landscape of the Ruhr area, Hilmar naturally moved towards environmental issues. In addition to paper, he began to incorporate into his reliefs natural materials such as jute, wax, kaolin and also wood, in the form of sticks and matchsticks. In the 1980s, when nature became an equal co-agent in his work, and creative intervention in natural processes started to prevail in his work, he turned permanently to a single material - wood. He partially dismantled the original autonomous shapes of branches and trunks and then reconstructed them by rejoining, tying or crossing them into new units of wooden objects and installations. He deliberately interfered in the originally round found fragments of trees in an invasive and openly completely contradictory square manner followed by a final gesture of re-rounding, in order to manifest the oneness of man and nature, which he sought in his work and life. 

 

Literature: 

HILMAR, Jiří, VÍCHOVÁ, Ilona, HIEKISCH-PICARD, Sepp. Jiří Hilmar/ Adagio. Praha, Museum Kampa – Nadace Jana a Medy Mládkových, 2015.

POHRIBNÝ, Arsen. Klub konkrétistů po dvaceti letech. In: Revue K, 1988–89, nos. 32–33.

“Optické reliéfy“ Jiřího Hilmara, Rozhlas, ČRo 3 – Vltava, Mozaika, 24 February 2011.



[1] The principles of Concretism were defined in interwar art by Theo van Doesburg, who first used and coined the term in 1930, and later in the 1930s by Max Bill, the main promoter of this art movement. De Stijl, the Bauhaus, and also the Russian avant-garde were followed in the 1950s by the activities of the Swiss neo-concretists led by Richard Paul Lohse, and partly by kinetic art in the Düsseldorf Zero movement, the GRAV group in Paris, the Gruppo N in Padua and the Gruppo T in Milan.

[2] Together with Tomáš Rajlich, Radoslav Kratina, Miroslav Vystrčil and the art theorist Arsén Pohribný he co-founded the KK/CC - The Concretists’ Club (9 May 1967 - ca. 1972), whose activities were followed by the new KK2 in 1997 and KK3 in 2007.

[3] In this context it is also worth mentioning hydro-kinetic objects from 1974.

[4]Optické reliéfy“ Jiřího Hilmara, Rozhlas, ČRo 3 – Vltava, Mozaika, 24 February 2011.

                                                                                                         


Minami Nishinaga / I’ll give brownie points to something like Čert 180 g, Loupák pes 60 g, or perhaps Bez omáčky

-

Fait Gallery PREVIEW, Ve Vaňkovce 2, Brno

Opening: 26 February 2020 at 7pm

Curator: Tímea Vitázková

 

We are exploring the world to know how it works by just as like peeling Baumkuchen layer by layer. 


There I wish the world is surrounded by moments to know small surprising facts which shake our understanding of the world a bit but not to the extent to completely change the structure. 


… like when I came to know that couscous is a type of pasta.
Minami Nishinaga

Čert 180 g is a type of bread, which you can find on St. Nicolaus day in Tesco, Loupák pes 60g in Albert. Although these products are on offer in self-service checkouts, there is no real chance to buy them. Mirroring this situation, “bez omáčky” is most likely an option, that you can choose from while ordering fries from the same type of self-checkouts, but this wish may not be granted. Sometimes we are offered things by the system, which we cannot choose from, another time for a change we can choose things, which will not be allowed by the system. These are outwardly insignificant and easily overlooked objects and situations. We stop and think about it for a while and then we continue on with life, or we don’t pay attention to them at all. 

Nonetheless, Minami Nishinaga with her daily obsession and sensitivity towards detail, pays attention to those situations, appreciates them and thus transforms them into her works. The essence of her work results in mostly objects and miniature sculptures, often having performative or audiovisual overlap. One of the main themes, which the artist deals with, is language. At the beginning, the author of Japanese descent perceived the Czech language as very difficult, even
inaccessible. She managed to get acquainted with the language only after getting to know the diminutives. These peculiar words, which contain a kind of mercy are also a sign of proximity between the subjects of communication, became a source of fascination for the artist. Minami Nishinaga became a collector of these phrases, the inventor of her imaginary vocabulary, looking for and assigning local equivalents to the diminutives of her native language. These diminutives
are the bearers of proximity but especially their cuteness - and it winds throughout the artist's work, which is also manifested at the exhibition in the Fait Gallery.

I’ll give brownie points to something like Čert 180 g, Loupák pes 60 g, or perhaps Bez omáčky visualises personal stories of eight anthropomorphic objects from different materials. These subtle narrative pieces capture a tiny murmur between objects and subjects. At first sight, these dialogues are not clear however, thanks to the author’s sensitivity and imagination they speak to us and are waiting for empathy, recognition and attention. It is subtle in personifications of zoomorphic works or objects, which are addressed with humanity and care. Other works are related to the artist herself, her "ritual" or situations, full of intimacy and are reflecting the search for support. Throughout these subtle poetic objects, Minami Nishinaga encourages sensitivity, receptive understanding and appreciation of not only your surroundings but also to you personally.

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