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



Jan Merta / Return

21.02.2018 - 05.05.2018

Fait Gallery

Ve Vaňkovce 2, Brno
Vernissage: 21.2.2018 at 7 pm
Curators: Denisa Kujelová & Jiří Zahrádka

Return is the movement of the Tao, yielding

is the way of the Tao. Ten thousand things

in All Under Heaven are born of what there is.

What there is is born of what there isn’t.

In a distinctive visual style rooted in his personal memory, Jan Merta transforms real-world subjects into specific projections of his own experiences. This unusually sincere approach is in its intensity and truthfulness towards the viewer remarkably transferrable and communicative. In most cases, the artist chooses as the subject matter of his paintngs, drawings and objects things and situations on the edge of ordinary attention that, however, are personally highly important for him. By removing them from their original context and by their free processing he fills them with new contents. The pure essence of seemingly ordinary objects demonstrated on a monumental scale with the use of unconventional; spatial structures provides Merta’s paintings with a strange tension, which is in some works even intensified by the refined employment of light and the atypically approached relationship between object and area when an accentuated background creates an illusory perspective.

All of Jan Merta’s works have their own raison d’etre in particular stories, and his art is so closely linked with personal experiences that it could be understood as the artist’s diary records of events, experiences, memories and reminiscences of people, objects and places. Every new painting is for him a return in thoughts, and it is therefore hardly surprising that he has chosen this word for the exhibition title. However, it should be viewed at several levels of meaning: apart from the tite of a sculpture, the motif of return also refers to the show itself, organised in exhibition rooms to which Jan Merta returns with his new project after eight years. First and foremost, it refers to regular returns to the artist’s key theme circles, as well as to particular motifs which are, nonetheless, always approached in a different way.

Within the Return exhibition, sections such as Liberec are important; the artist returns in it to the places associated with his childhood and has worked on it, on and off, for several years, as is the subject of civilization threats and cultural codes as homage to Old Masters and specific works of art. One example is Goya’s painting Third of May 1808 (1814) from which Merta borrowed the motif of a lamp. The lamp as a source of light is a vital element of the picture, not only in its form but also in its content, and Merta has utilised it several times. Last but not least, the exhibition presents works referring to the artist’s penchant for Eastern philosophy. In 2010 and 2013 Jan Merta designed the book Laozi translated by Oldřich Král, and his close friendship with this extraordinary figure reinforced his interest in Chinese philosophy. In the Fait Gallery exhibition project this leading sinologist agreed to incorporate into the LAOZI installation his sound recording of the book accompanied by Merta;s paintings with fragments of cups and saucers. These symbolize clay vessels: according to the teaching of the Tao, the meaning and purpose of their internal parts only come from emptiness.

                                                                   


ALENA KOTZMANNOVÁ / JAN ŠERÝCH / A CHILIAGON

-

Fait Gallery MEM
Božetěchova Street 1 (entrance from Metodějova Street), Brno
Curator: Jiří Ptáček
 
It would certainly be interesting to carefully investigate how the photographic work of Alena Kotzmannová meets storytelling. Her portfolio includes cases of direct emphasis of the relationship between the pictures and the (accompanying) text, as was the case with the Fish People in 2010, and also the cooperation with Lenka Vítková, who added pieces of her own literature among the photographs in the Hunt Kastner Artworks gallery. Kotzmannová has also illustrated a story by Tomáš Pospiszyl (published in the magazine Umělec /Artist) and later, when transforming  the story into a video, she added her photographs to the same template. In addition to these factual examples in some of her work we can discover direct or hidden film references – a medium strongly connected with storytelling and last, but not least among her work we can find pieces that refer to the time as determining factor of the content (and the time dimension is an essential condition to any narration). As there isn’t enough space to thoroughly develop the above ideas in the text about the joint exhibition with Jan Šerých, let's take the mentioned examples as slightly unstable foundations for the hypothesis, that the questions of narration and narrative play an important role in Alena Kotzmannová‘ s thinking, and quite probably they - as a sort of inarticulate sci-fi – stand behind the collection called Undated.

Being next to the the works of Jan Šerých, however, is that rare moment when there are more than any other time revealed other implicit aspects of her work. This time it, undoubtedly, highlights the formal aspects Kotzmannová’s way of photographing. Central symmetry of her still lifes and yellow striped frame are reflected in Šerých‘s strict drawing structures and the photo installation Tornádo /Tornado inspired by a found picture of a woman posing for the photographer far enough (?!) from the trunk of a whirlwind. Šerých used two captured axes – the first one is a woman standing in the ideal center of the frame and the other one is a twisted column of dust spinning around its eye. By spinning the photo printing around the vertical axis Šerých emphasised this principle and in accordance with the tone of the installation of his drawings it seems he is claiming that the adjustment is more important than the depiction (despite that it is the adjustment he uses to relate to the exhibited works).

And this fact brings us back to the photographs of Alena Kotzmannová. Not only that yellow stripes along the edges of the photographs change the perceptual quality of the pictures, they also - as well as adjustments - are actually a commentary on what is captured in the pictures: objects are variously "adjusted" and shown this way to the viewer (and the lens of the photographer).

The Chiliagon by Alena Kotzmannová and Jan Šerých could be compared to the two punch cards laid over each other. At first glance, there is an obvious formal kinship, that actually brings the theme of "proximity" (ad-juxtare), including the contrasting opposite at long tables covered with Jana Šerých drawings, that actually "recede" from the viewer, because he/she can actually not properly inspect them, could then be considered as the adjacent holes in punch cards. However these aspects should not cover the last metaphorical evocation, I have noticed in the combination of their work. In a Chiliagon Šerých as well as Kotzmannová create an environment referring solely to artistic problems. But the impression of selected pictures evokes a strong affective as well as associative response, and also the kind of laboratory atmosphere of the exhibition, create together a generally understandable key also for the audience prefering emotions and ideas. And this brings us – althought from a different side - very close to the storytelling, where we actually started.

Jiří Ptáček

Go back