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



Petr Nikl / Wild Flowerbeds

01.06.2022 - 30.07.2022

Fait Gallery, Ve Vaňkovce 2, Brno

Curators: Denisa Kujelová and Jiří Ptáček

Opening: 1. 6. 2022, 7 pm

 

In the exhibition project of the versatile visual artist Petr Nikl, his creative approaches intertwine in a vast imaginative garden - a kind of ecosystem of moving and seemingly static organisms cultivated by the artist, but at the same time partially self-grown, much to his delight.   

Petr Nikl is one of the few Czech artists who need little introduction to the cultural public. Almost everyone will remember some of his exhibitions, a painting, drawing or print, an exhibition project he initiated, a music recording, a concert, a theatre play or a performance or, for example, a book for adults and children he wrote and illustrated. However, it is not this multi-faceted and decades-long presence of Petr Nikl in our cultural space that makes him an unmistakeable and a rather unique figure. Indeed, this presence would not be worth talking about and would be just mindless hyperactivity were it not characterized by the imaginative poetics with which the artist draws us into a fascinating space of fantasy and play. 

If we were to sum up what Nikl communicates to his viewers and listeners, it would probably be a non-violently subversive impact on the consensus of dignified and pragmatic adulthood which creates a wall of restrictions and a hard-to-fulfil desire to break it, and Nikl's ability to indicate, through the outcomes of his work, a path towards the fuller experiencing of the multi-layered and mysterious nature of existence that spreads underneath the veneer of the mundane and the superficial absorption of reality.      

Nikl co-founded his puppet theatre company Mehedaha as early as 1985. At that time, he was a student at the Academy of Fine Arts in Prague where intermedia fusions or performative forms in visual art were not discussed and taught. In accordance with the ideas of the cultural nomenclature of the period about clearly defined fields for the individual artistic disciplines, they were not even considered potentially enriching.However, he soon found kindred spirits among the members of the Tvrdohlaví art group which made its first public appearance in 1987, with understanding not only for artistic activity but also for self-realization in music and theatre. Yet only in Nikl’s case involving the wide spectrum of image, sound, language and body did it become the basis of all creative activities. 

Like the performances of Nikl's plays where his visual sensitivity is strongly applied, many of his art projects are determined by the performative and procedural aspects of art. This is by no means limited to paintings which are executed by mechanical machines with the artist's assistance, often in the presence of the audience. This is also true, for example, of his recent works on paper in which he explores new possibilities by dipping rolls of paper in paint in anticipation of (again) only partially predictable results. Randomness and spontaneity help the artist to cross the horizon of his own imagination and provide him with the possibility of wonder at the resulting image. They are not far from Nikl’s drawing method in which his skill taps unconscious sources and the drawing is thus "let" grow out of contents which otherwise remain inaccessible. In them, too, Nikl is merely a participant who does not have a hundred-percent control over what kind of treasure his mind and hands will bring.               

The exhibition in the Fait Gallery is rooted in the metaphor of a flower bed. While a garden is associated with a branching cultural symbolism, the flower bed as its sub-component is only a kind of working subject. Under normal circumstances it is cultivated and maintained in a state where it serves well the greater whole or a given purpose which, depending on the intentions of the grower, is either ornamental or utilitarian. A flower bed that is not weeded and consequently wild is a sign of neglect, while care is characterized by a high degree of restriction and control over what can take place in this demarcated area. In contrast, Peter Nikl lets his imaginary flower beds overgrow in anticipation of the unsuspected and surprising. For him, they are not what he carefully prepares and then follows a plan but a combined activity of plants, soil, sunshine, rain, insects, earthworms, moles and other elements that enter into the process. The flower beds - not dissimilar to stretched canvases or sheets of paper because of their limits - are thus filled with actions that we can only partially observe. And anticipate even less. 

Thanks to this, they can turn into fascinating revelations which, through their self-organization and somewhat "disorganized organization" take us beyond (or "under") an objective and clear understanding of reality, to its massive organicity and complexity that is never fully graspable. And yet, this "big" takes place in the encounter with something as "small"... as a flower bed, a drawing or a painted image.

 

Text: Jiří Ptáček      

                                                                                             


Karel Adamus / Minimal Metaphors

-

Fait Gallery, Ve Vaňkovce 2, Brno

Curator: Denisa Kujelová

Special opening day: October 8, 4 pm–9 pm

 

The conceptual approach first came to the fore in the work of Karel Adamus in 1974, in an extensive cycle entitled Minimal Metaphors exploring the relations between verbal or visual elements and their subsequent reassessed meaning in the title. The artist developed this distinctive type of conceptual poetry from 1976 onwards in the Copies series in which he, apart from a play with the terms “original” and “copy,” also articulated or modified the meaning of the original work by means of watercolour and drawing. 

 

The theme of Minimal Metaphors created on the common A4 format is the relationship between a typewritten title and a subject of a poem, expressed with the use of a typewriter and a minimalist drawing, an assemblage or the colour and material properties of paper. Verbal metaphors are the most plentifully represented in this impressive cycle; their material is words where the semantic nature is born by both the signifier and the signified. The relationship between these two components produces a metaphor, i.e. a relationship on the basis of an analogy which the artist presents to the recipient on whose active collaboration strong emphasis is laid in the final execution of the work. The majority of these verbal metaphors go back to the aesthetics of typewritten letters that the artist used in his previous prolific phase of visual poetry, and are thus exclusively executed in typewritten form. However, there are also several poems working with a handwritten text, the stamping technique close to stamp art, poems-drawings and drawings working with “zero experience” in a maximum reduction of the elements employed. 

In the following Copies series closely linked with Minimal Metaphors, and sometimes even formally attached to it, the relationship between the title and the subject of a poem, between the signifying component and the signified component, be it a text or a picture, a key element of this part of Adamus’s oeuvre, is accentuated even more. However, to get a full picture, it is also necessary to study other aspects of the work. While the Minimal Metaphors series is limited, with a few exceptions, to the ordinary A4 format, with Copies the format was enlarged in an equal proportion in order to demonstrate the size of the originals. 

Subject Poems and Poems – Objects are also based on preset and consciously created associative links, inducing in the viewer a transfer of meaning expected by the artist. The meaning is often anchored in the title which makes up an integral part of the work and leads the observer in a direction set by the artist. In view of this, the frequently voiced connection with ready made art appears incorrect. 

Adamus’s art characterised by concentrated communication with minimalized visual expression and work with actually non-artistic means is in this case not a purely intellectual construct on a rational base; nonetheless, its main subject is lyrical stimuli rooted in his inherently poetic nature. This is also illustrated by the fact that Adamus consistently refers to his works including objects as poems. Karel Adamus as a visual poetry artist was introduced to the general public in the early 1970s by the art theorist and artist Jiří Valoch on whose essays this text is based. Valoch also included Adamus in the so-called Brno Circle, along with other artists working on the periphery of the art scene. The main feature shared by these artists was the conceptualization of art, the accent on visual and experimental poetry and the processuality of their work. 

The process character of drawing started to manifest itself in Adamus’s art in 1980 in the Flosages cycle. Although chronologically they rank with Minimal Metaphors and to a large extent are also metaphorical, these works can’t be classified with Minimal Metaphors due to their completely different structure and point of departure. The Flosages series consists of sequences of mostly connected lines which are of different thickness but are always in monochrome black pencil of different hardness, or an ink felt-tip pen. They always culminate in one line in colour, and there exist different time intervals between the drawings of the individual black lines (weeks, months but also years). The closing of the growth process with a colour line which gave the cycle its name symbolizes flower (flos in Latin). Despite the fact that Flosages have different shapes, they typically show a repeatedly connected line the phases of which take place in different time periods, and many of them are frozen in the process of growth, awaiting the next phase or the final stage - flower.

 

A virtual tour of Karel Adamus's exhibition - Minimal Metaphors can be found here.

 

Literature:
Lucie Rohanová. Soupis autorského archivu a analýza díla. Brno 2012. Magisterská práce. Fakulta výtvarných umění VUT v Brně.
Jiří Valoch. Karel Adamus. Brno: Student klub, 1978. (kat. výst.)
Jiří Valoch. Karel Adamus – Vizuální poezie: kresby, koláže, objekty. Opava: Klub mladých MDKPB, 1988. (kat. výst.)
Jiří Valoch. Karel Adamus / objekty a kresby. Brno: Galerie Jaroslav Krále, 1994. (kat. výst.)
Jiří Valoch. Karel Adamus – Vizuální poezie. Český Těšín: Kulturní a společenské středisko Střelnice, 2000. (kat. výst.)
Jiří Valoch. Karel Adamus – Vizuální poezie. Opava: Dům umění v Opavě, 2002. (kat. výst.)

Go back