24.01.2017 - 29.07.2017
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.