Jiří Staněk / Brightness

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.

Jiří Staněk / Brightness

19.10.2022 - 14.01.2023

Fait Gallery PREVIEW, Ve Vaňkovce 2, Brno

Curator: Jiří Dušek

Exhibition architecture: Jakub Němec

Opening: 19 October 2022, 7 pm

The Eye, its Brain, our Universe and Jiří Staněk's Wavefronts

Sight is a miraculous organ and clearly the most important human sense. Through it we receive up to eighty percent of information about the world around us. It is an amazing result of evolution which has brought it to near-perfection over tens of millions of years. Its marvellous anatomy, the intricate processing of the captured image, the interaction between the eyes and the brain - we still have only very vague ideas about all this.

Yet the wondrousness of our world goes even further... A stream of visible light, i.e. light which the human eye can perceive, sometimes acts like a staccato of the individual elements and sometimes like a wave, and not only at the level of the imperceptible microworld but also in our own eyes. The passage of light through the cornea, lens and the vitreous body is defined by the laws of geometrical optics. And we know that it only takes a few dozen individual photons to irritate the light-sensitive cells - cones and rods.

We don't know why our eyes get flooded with tears as a result of an emotional outburst. We don't know why nature has endowed us with the sclera that enables us to communicate without words. We don't know why the sensitivity of our eyes - unlike many other living organisms - is so limited. We don't know why and how the human brain can organise so well the chaos our eyes record. We don't actually see reality, the perceived world is not real. Everything is a stream of photons that is somehow interpreted by our brain - everything exists only in our imagination.

Jiří Staněk also took the path of visualization of waves and elements. His grids of paper installations are in fact macroscopic wavefronts that change appearance with the viewing angle of an astonished viewer. On closer inspection, they resemble detailed views of the surface of the Sun. The surface is structured by granulation, i.e. peaks of upward currents several hundred degrees warmer than the surrounding environment, which transfer energy from the inner areas towards the surface.

Thanks to this, the visible part of the Sun is heated to the temperature of five and a half thousand degrees Celsius. Thanks to this, life on planet Earth has been possible for four billion years. Thanks to this, the eye that has hatched from the brains of our ancient ancestors can perceive its own universe. Thanks to the imagination of the artist Jiří Staněk and the visitors, the Brightness exhibition exists.

Go back