Markéta Othová

1990–2018

 
Valentýna Janů

Salty Mascara

 
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 Nálevka / And now let’s finally turn the page

23.05.2018 - 04.08.2018

Fait Gallery, Ve Vaňkovce 2, Brno

opening: 23. 5. 2018 at 7 pm

curator: Jiří Ptáček
exhibition architect: Tomáš Džadoň
 

A grid becomes a symbol of organisation in the most general sense of the word, a kind of order of things, and at a symbolic level also a world order. 

- Jan Nálevka

The A4 format paper is the most widespread kind of paper in both households and offices. We use it to print ordinary documents, for photocopying, notes and sketches. It is also used for the printing of formal court decisions, meals of the day in cheap restaurants and university theses, as it is the only format with which one can be sure that the diploma work will be bound in covers imitating leather as late as an hour before the deadline. Files for this size are available from any stationery shop, and millions of sheets pile up in millions of metres of office archives. Text editors now offer the digital version of A4… The standardized A4 format is guaranteed by the ISO 216 international standard for paper of the A, B and C categories. The first attempts at standardisation go back to France during the Revolution in the late 18th century. The main advantage of this proportion of sides is the simple division in halves after which the sheets retain the same proportion of sides. The major benefit of the adoption and dissemination of the standard was its compatibility and coordination of the manufacture of a whole spectrum of products. Nowadays, when you ask someone to picture a “common sheet of paper”, they will most probably visualize paper of the A4 format. 

When lining A4 sheets, Jan Nálevka adjusts the drawing to the standard. He opts for a neutral handwriting, and steps back as an artist. He uses blue ballpoint pens in order to emphasise office work where the compliance with prescribed administration procedures is essential. Reams of paper covered in lines and square grids are virtually indiscernible from mass-produced prints. And since Nálevka further segments the paper with lines and square grids, while in fact still preparing it for writing and drawing, he can talk about the creation of “standardised blankness”, a blankness achieved through work. Its volume, as well as the time it requires, are not proportionate to the result. However, in their reflection there is always space to realise the absurd nature of this activity. Nálevka’s drawings can thus be considered implicitly critical, yet at a more general level they are abstract visualizations of an order introduced into art, or into a work activity as such. And in its ultimate form, the segmented A4 paper format is a symbolic representative of standards predestining our factual possibilities, shaping our perception and behaviour, and providing a basis for our imagination in the private and social dimension of life. 

The And now, finally, let’s finally turn the page exhibition can be understood as a public audit due to which the material that in the previous decade had progressively emerged at preliminary, autonomous and semi-autonomous presentations was gathered in a single place. And although the show exclusively presents drawings from the years 2009—2018, it captures Nálevka’s thinking concerning the external conditions of the organisation of human life. It is divided into three basic sections. The first one observes the subjects of the basic organisation plan and “standardised blankness” as the consequences of the adopted  art-work load. In the second section, the issue of the time invested in the drawings, and lost, comes to the fore. Finally, in the last section Nálevka abandons the point of view of an individual and with plans drawn over reproductions of books on modernist art comments on the historical and possible future social orders. 

 

                                                                      


THE SELECTION FROM THE FAIT GALLERY COLLECTION

-

Fait Gallery
Božetěchova Street 1 (entrance from Metodějova Street), Brno
Opening: 23/2/2012 at 7pm
Curator: Denisa Kujelová

The Fait Gallery Collection will introduce itself to a wider audience for the first time with a selection of works by leading representatives of the Czechoslovak pre-war and the interwar avant-garde. Selected works of Antonín Procházka, Emil Filla, František Foltýn, Josef Čapek and others are, in order to the outline of the collection profile and its connection with the contemporary art collection presented in Fait Gallery Preview, accompanied by graphic works of established artists from the late 20th century - Alena Kučerová, Milan Grygar and Jan Kubíček.

The dominating part of the exhibition is formed by the works of Antonín Procházka, that reflect the author's many years of effort to master the universality of the artwork with the help of geometry and inspiration by the art of ancient cultures. Through the tendencies close to unorthodox cubists Metzinger and Gleizes and Delaunay’s orphism, Procházka crossed the cubism by gradual reduction of the shape and completely specific stylisation, full of strongly coloured and curved shapes and spiral scrolls. His painting gradually grew in volume and plasticity, intensified by the use of unusual materials. In the years 1925-1926 Procházka grew into the Neo-Clasiccism affected by the figural art of archaic Greece, ancient Rome, Hellenistic Egypt and India.

Mostly Cubist paintings are accompanied by the bronze cast of the famous sculpture Anxiety (Úzkost, 1911) by Otto Gutfreund. This sculpture is generally seen as the first sculpture of not only Czech but also world Cubism. The influence of Czech Cubo-Expresionism can be found in the canvas by František Foltýn (Na stavbě /At the building site, 1924), where culminated his utter interest about the figure in a characteristic sharp angular shapes and robust expression. The emphasis on social topics and simplified factual depiction culminated in the year of the creation of the picture, when the Foltýn moved to Paris and there, under the strong influence of his surroundings, including František Kupka, began to devote himself exclusively to abstract art.

The need felt to respond to the growing dangers of Nazism in the thirties is evident in the work of Josef Čapek. At the same time, the war is also the main painting theme for Emil Filla. Because Filla and Čapek were both arrested by the Gestapo on the very first day of the war and imprisoned in a concentration camp, Filla's works from the years 1938-1939, mostly with the topic of Heracles’s fights, duels and bouts, were exhibited for the first time in 1945 in Mánes, in Prague. Emil Filla’s rich sculptural artwork is at the exhibition represented by the head of a woman who is deliberately confronted with a surrealistic sculpture A girl with a child by Vincent Makovsky from 1933.

Cubism was originally an inspiration also for Milan Grygar, postwar Emil Filla’s student at The Academy of Arts. In this exhibition he is introduced by a collection of acoustic drawings Antifon, that are a specific visual realization of the transcript of an audio event. Grygar has been working with the phenomenon since 1963. Also since 1963 has the graphic designer Alena Kučerová been using perforation in her works and since 1965 she has been adding the used printing stamps to the shown prints as specific art pieces. In the seventies she replaced the scenes from quite ordinary human situations by genre themes and she started to depict the animal motives in her graphic art. In the eighties she completely replaced the figures motives with landscaping themes. On the contrary, Jan Kubíček started as a landscape painter and through a unique form of lettrism and by rigorous analysis of order and exploration in the area of a form, he reached a fully autonomous rationalistic geometry.

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