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 (whose club 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 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 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.
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.
 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.
 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.
 In this context it is also worth mentioning hydro-kinetic objects from 1974.
 “Optické reliéfy“ Jiřího Hilmara, Rozhlas, ČRo 3 – Vltava, Mozaika, 24 February 2011.
Fait Gallery MEM, Ve Vaňkovce 2, Brno
Curators: Marie Štindlová a Lenka Vítková
Opening: 23. 2. 2022, 7 pm
natural as the smoke from the smouldering end of a burning stick.
Inge Kosková's drawings are characterised by subtlety and sensitive precision. With extraordinary virtuosity, she touches on ephemeral subjects such as rhythm and breath, records landscapes and music, and writes letters in non-existent scripts. The Flow exhibition showcases a more vigorous form of her drawings which manifest that even subtlety can be firm and powerful.
Inge Kosková lives in Olomouc
her drawings have the most beautiful breaks
her drawings feature Czech forests and meadows, crushed grass by a pond
her drawings with mantras are happy wishes for the world
her drawings are her breath and perhaps also her spirit (of a kind jester)
Inge Kosková draws on her own, even though we can say that she belongs somewhere
Inge has been compared to Olga Karlíková who produced drawings as light as the feathers of birds whose sounds guided her hand
Inge has been compared to Václav Stratil, the old trickster
Inge has been compared to a few others (the circle of artists of the Olomouc drawing, as they are called)
Inge was often interpreted by Jiří Valoch when he used to stomp around at exhibition openings in pointy shoes
Inge's work is concentrated and balanced. She slowly cultivates what she has, and she has lots.
Inge sometimes draws as if she were writing letters
Inge sometimes draws
Inge Kosková is often associated with the circle of artists of the Olomouc drawing. However, her work has always been somewhat solitary. It was and is based on honest contemplation and the distillation of phenomena to the core. In the beginning, she created imaginative works referring to surrealism, gradually moving through figurative motifs with existential overtones to records of landscapes and a search for the order of nature in general. Over time, her drawing expression lost the narrative and verbal content in favour of various phenomena that are difficult to convey in words. Their common denominator is breath, rhythm, a break. The drawing expression is reduced to a simple black line and well-organised work with large white areas of paper. In her works inspired by nature, a similarity to script emerges, and this motif is developed in drawings inspired by the structure of letters and the laws of writing. This experience is further reflected in the works created to music. Another kind of record involves works recording bodily sensations and a series of drawings with mantras in which the artist covered the paper with concentrated drawings related to a circle while repeating a particular mantra. The selection of works for the MEM gallery is based on recent records of music, supplemented by several drawings with mantras and a large-scale drawing on the front wall.
When I look at Inge Kosková's delicate drawings, it is as if I was looking at materialized gestures, as if I was looking at a variant of a music score for the dance that Inge performed in her tree-shaded flat while listening to Janáček. Listening to music appears to be an excuse to allow her lifelong experience of music, rhythm, landscape, body and breath to be put on paper. The long drawing on the front wall originated in the gallery. We observed how ideas and movements were conserved in lines making up a stream that ran around the gallery whenever someone allowed it through their gaze.
Even small drawings after Janáček and Medek flow with the spontaneity and power of a river stream. It meanders and intensifies in robust drawings with mantras - concentrated records of meditation exercises produced in synchronicity with the artist's breath. A few precisely laid black lines on white sheets of paper in a white gallery.
Text: Marie Štindlová