24.05.2023 - 29.07.2023
Fait Gallery, Ve Vaňkovce 2, Brno
Curator: Pavlína Morganová
Opening: 24th May, 7 pm
We have worked since 2019 under the unconductive trash label, which is an anagram of our home towns - Duchcov (Michal Pěchouček) and Traunstein (Rudi Koval). This fatalism-tinged pun metaphorically expresses the internal aspects of the joint working method. Trash accumulates during every creative process and production. Trash is an important and familiar concept from the landscape of cultural values. The The retardation property of the unconductive rules out the regulation of trash and the control of the direction of creative energy. The brand is therefore our distilled manifesto - in art, we do not consider it important to finish things. What matters is the beginning of creative activity, not its completed result. The purpose of our collaboration is to remove the layers of the past and discover a new artistic identity.
The starting point of our artistic interaction is the easel painting - it proved to be a suitable and accessible means in a joint search for a new linguistic and content identity. At the core of our collaboration is the desire to shed the layers of our own past, i.e. to learn to forget our original artistic handwritings. We explore a new painterly handwriting through different materials and methods, including the space and time dimensions of art. In a pair, it is possible to discover new subjects for artistic retelling and new ordinariness. We experiment with artistic means while trying to "moderate" the intensity and interconnectedness of joint everyday activities. We include in art not only common knowledge but also ordinary experiences, situations that can be planned and experienced together. We focus on one-day and long-term challenges. We try to employ this experience of subtle everyday reality in robust wholes such as exhibitions.
The title of the current exhibition LARGELY OBSERVED is inspired by one of the terms of the European macroseismic earthquake scale. It identifies a degree of critical condition that is widely observed, but need not be taken fatally - for us it is a possible expression of the quality of the viewer's experience, the power of the inner experience of an artwork. The exhibition opens with our first collaborative works, burning daylight (2020), and continues with unconductive chronology (2023), a series of forty-eight paintings sewn together. At the centre are two extensive cycles of paintings, gold tint (2022) and virgin blue (2023), inspired by research into visual evidence of suppressed stories of the past. We have conceived the exhibition as a dialogue between two worlds: past and present, big and small. Through monochromatic work with colour and figurative detail, we attempt to tell real stories of the 20th century that resonate with our everyday lives today.
virgin blue (2023)
This installation of paintings and a monumental work close to architecture, design and large-scale relief painting is inspired by period photographs of one of England's first women football teams, Dick, Kerr Ladies F.C., which was formed during the First World War. Despite achieving considerable popularity and sporting success, the team faced strong opposition from the Football Association which banned women from playing on their pitches and stadiums for fifty years. The reason for the ban was to "protect" women who, according to the association, were not physically capable of playing football. The series of paintings thus refers not only to the pitfalls of women's emancipation but also to the period of the world wars, marked by many structural social changes.
burning daylight (2020)
The first works of unconductive trash were created as an experiment - the artists jointly modified paintings created by Rudi Koval in 2017. The burning daylight series thus captures the moment of the encounter of two artistic personalities and their incompatible handwritings. A dialogue between abstraction and figuration, the painterly approached surface and the drawing of a sewing machine, the removal of a canvas and its stretching onto a different format, the elimination of what already existed as well as the clarification of work with paint were all part of a search for new procedures and subjects.
unconductive chronology (2023)
The continuous series of forty-eight paintings is conceived as a monumental element in space and as a sequence of film frames for a motion picture. The individual canvases show an intervention that shrinks their surface through repeated stitching, thus creating volume. The fabric creases irreversibly even after stretching on a wooden frame. Unconductive trash works on two sewing machines simultaneously, with minimum checking of the result and according to specified conditions that are repeated. In doing so, they capture a personal unity in something that is both work and idleness, that is both festive and ordinary.
unconductive loop (2023)
The subject of this interactive installation is the mechanics of the sewing machine, its magical sound and its unsurpassed contribution to human civilization. It is the stepping mechanism of the machine that made the movement of the film strip in the camera possible. The driving force behind this work is the observing audience - without their presence the work wouldn’t exist.
gold tint (2022)
The gold tint cycle of paintings is loosely inspired by documentary photographs of everyday life of soldiers during the Second World War. For example, a series of reportage photographs taken in 1940 by John Topham while working in the RAF intelligence shows a home guard unit in Gravesend, England rehearsing an entertaining Christmas show - the soldiers performed in female roles and clothes. The rehearsal was interrupted by an alarm and everyone had to move to a defensive position, there was no time to unmask and change into uniforms. The whole story, including the rehearsal, is documented in several telling snapshots. They capture the desire of the British soldiers to forget the reality of war for a while, to have fun and to make present the missing female element - to let the yearning for it sublimate. The images were censored for a long time by the British Ministry of Information to prevent them from being exploited by the enemy as they placed the soldier-hero in a completely new situation.
Gender parody and cross-dressing common in the theatre are not unique in the military, either as evidenced, for example, in the book Soldier Studies (Martin Dammann, ed., Soldier Studies. Cross-Dressing in der Wehrmacht, Berlin: Hatje Cantz, 2019), with amateur photographs showing scenes featuring German soldiers dressed up as women - scenes that were in direct contradiction to Nazi ideology.
The scenes in the pictures captured through specific gestures and situations symbolically touch upon many aspects of today's discussion on gender stereotypes, human desires and various forms of identities. The artists want to emphasise, among other things, that men are capable of absolute empathy and that femininity is inherent to them. The search for normality and everyday ordinariness is natural for human beings, even in the chaos of war.
macroseismic scale, 2022
A figurative transcription of the European macroseismic scale which, unlike the older Richter scale, takes into account the intensity of human perception depending on physical changes. For example, the degree of largely observed defines the critical condition that is largely observed inside buildings. At this level, no one can pretend not to notice anything. Earthquakes inside buildings are felt by many, but only rarely outside.
you have no power over me, 2023
The textual intervention in the gallery window involves the line used to break the curse at the end of the fantasy film Labyrinth (directed by Jim Henson, 1986). Here, it is intended as a possible analogy to the figures of soldiers, or rather, to their experience of chaos and their desire to get out of it.
Fait Gallery PREVIEW, Ve Vaňkovce 2, Brno
Curator: Michal Stolárik
Opening day: May 12 2021, 5 pm–9 pm
A compositionally and dynamically balanced exhibition environment, formal purity of artefacts, obsessively precise rendering of the individual segments or a naturally developing vocabulary of art symbolism. The latest exhibition projects (Children of Ján Moksó, 2020, New Synagogue; Monument of Possible Fall, 2019, At Home Gallery) of the Slovak multimedia artist Kristián Németh (*1983) define from a perspective view his current artistic handwriting and probably also set imaginary standards of his future work. It is characterised by a natural combination of general subjects and intimate, almost traumatic contents, while the artist does not shun institutional criticism masked by a symbolic artistic language inspired by and derived from everyday reality.
Németh in his post-conceptual approach to the creation of objects, installations, performances, video art and staged photographs continuously touches upon subjects rooted in the functioning of the Catholic church. In some cases he examines, in an almost investigative manner, personal and family traumas, sexuality and sexual abuse, the dichotomy of power, the distorted values and intentions of the protagonists of the church, while at the same time questioning the general idea of the (false) positivity and transparency of the perception of a religious society. Although the institutional criticism of the church makes up a greater part of the artist’s research, he gradually updates it with a more universal content line which is related to more general subjects responding to the state of society.
The unplanned change of the dates of the solo exhibition Warm Greetings caused by the pandemic situation gave the artist an opportunity to review the original project and thus to come up with something new, as well as to reflect on the current political and social situation. At a glance, this site-specific project is based on Németh’s previous work and an imaginary library of the artist’s approaches from which he has selected significant light colours, an airy installation, material and formal variety, minimalist stylization and a stage design approach to the building of the exhibition experience.
The central motif placed at the core of the exhibition environment involves wax objects bent by the effect of warmth and force. Candles deformed by an art technique which Németh originally took from the context of the Eucharist represented in his past projects the vulnerability and the unconscious adjustment of individuals to the canons of the church power. In the current update, their numbers are multiplied, resulting in accumulations of organic wholes that appear homogenous yet, on closer inspection, reveal their unique heterogeneous character. Through the accumulation of destroyed candles Németh illustrates the influences of a superior power, unshakeable external stimuli, social norms, pressures and expectations affecting an individual or a group in the present world. Through the form of an invisible physical gesture and an imaginary “warm greeting“ the artist creates symbolic relics and comments on the process of their birth in the form of stylized images communicating the poetics of a simple gesture between creativity and destruction.
The subtle yet unmistakeable colour scheme of the exhibition project which, apart from the fact that it helps dynamize the space and accentuates the meaning of the individual segments, also reflects the symbolism of the colours used. White is connected with purity, innocence, truth ad justice, while the shade of incarnate pink is related to the feminine, corporeality and homosexuality. Apart from fabrics employed in a stage-design fashion we can observe the selected colour scheme on specially designed abstracted wooden pedestals illustrating stylized traces of the melted candles. Together with stigmatically rendered burnt spots, they indicate the invisible yet clearly present elements of warmth and fire, constituting an important ideological background of the whole project.
Supported using public funding by Slovak Arts Council.