A thrust by forearm crossed the mist. Palm formed a small bowl. Drop. now. now. . not again. Quick impro with a branch from a small pine. To make a path with your sneakers, to sweep dust, to overstep a piece of sandstone and deliberately cut off. To put on. To wash. On the way up hill, a few lines made by cars. Two reddish and one greyish white.
In the draught, cork, salt and some remote herbs are combined. The very same smell today accompanied the blind one with her husband into their favourite bar. They do not stay longer than usually, just takeaway coffee and piece of bread. When the interior is overcrowded, they leave through back entrance. They say goodbye to their waitress, and see you soon.
In fact, the open fan is a single house hidden in the hill. Siamese triplets are bit different in fine details and bevels. In no. three, there is a bathtub, in no. two there is no privacy and no. one is a makeshift. Uncountable mirroring in the floor strangely transfers into the mood of guests. They are becoming gunmen, who are like on pins and needles, afraid of attack from the horizon.
Only place, about which we can say with certainty, that there´s life, is the planet Earth. Smart cities may in the future float on the water and fly through the universe. The life has bounced into the ability of producing dynamic lift power at many occasions, but the wings stay still important. God´s Work is a metaphorical initiation of flight, in which you can experience this uplift and beauty of nature in its rawness. The ability to absorb it and inability to bring this experience to gallery space were the main impulse for creation of this large-scale project. The exhibition is a journey here. It is possible to see it also from Taoist point of view, where the journey itself becomes both goal and work. All the traditional principles of the gallery organisation are disrupted and revaluated. Accompanying programs of the exhibition, are an equivalent or even main part of the project. “Journey” in the exhibition involves visits of artists, who work with and in the nature, and also of the artists, who only observe nature and install it in the aseptic gallery space, which has also transformed into one of many journeys. Contrast of the artificial and natural is what allures us. The inaccuracy of place, time and experience. The accuracy of the moment. The ability to perceive now and here, to share without words, to contextualise without manipulation. Nature is form of both body and spiritual cleansing. The project does not have ordinary curator, nor the architect, it is a live socio-system, which acts on both layers – the exhibition as an experience superior to the anesthetisation of nature against the nature as a product of art and discourse.
Similar program can be found on gallery website and Facebook profile.
It is important to believe word IS, TO BE. Single fact, that we „just“ exist is often the most deceptive information, that forms us every day. How not to require, not to expect anything and at the same time to enjoy „just being“ seems to be a difficult task. After all, thoughts always want to make their way to the conclusion, they´re avid for definition. Cluster of brain wiring, by the author refered as a picture of universe in your head, is an unstable mass and in some stages of life becomes also a battlefield. Imaginery protection shield, which pushes off continuous burning of „stars“ flowing into tissue and sutures, is probably the void, repose and harmony of body and mind. However, this direction towards the void and silence is accompanied by noise of darkened fears and even smaller fears, that need to be designated, so they won´t be misleading. Many heads and many dialogues took place throughout many light years.
It is good to see the difference between to have to believe and to want to believe.
Walking on the dusty road I approach monumental, but neglected, and as time will reveal, also dysfunctional gate. There, I jump over a small short wall, and after overcoming short anxiety I dare to go inside. I slowly begin to see divine scenery. Lot of palm trees, aromatic almonds, a mixture of dried flowers, which are quickly replaced by new ones. Tiny insects and specific climate. Immediately, I put down my rucksack, shirt and, finally, my shoes. Quietness of the breathing forest brings me pleasure and assurance that I may get comfortable. I imitate bird sounds, so that I soon realise, that I haven´t pronounced a sentence for a couple of days. I don´t miss it. I don´t wait for a visit. Ultimate? Where is my famous pocket machete from a market for 2 pesos? I crawl on my four through the huge tangled branches of a short dark bush. I imitate movement of a tree, as it was growing, in order to sling out of the branches. I´m done. I am barefoot, dirty and in awe. Inside of this never-ending jungle, there stands a masonry cold mansion.
David Vojtuš approaches a specific, intervening space in the gallery. He attempts to understand its area. Shortly, he realizes, it is not easy, he´s not even sure, whether he is inside or begins going around the gallery edges. He moves in the right direction, as the staircase inside of the unit called house indicate, or did he made a countermovement and so missed the entrance by entering the block just from the other side? For a while he´s been focused; now he stops in the point, where he feels the center is. Despite his own idle time, the units keep moving around him. It looks like a synchronous crawling of something, what appears to be beyond control. However, this cluster movement has been permanently driven by invisible subtle bonds. Only package can give it a shape. A container. In fact, our house. Without it, all the units would go to different directions and in that case, we likely wouldn´t call water by its name. Perhaps, it would be other physical state.
The exhibition connects an elemental life-giving element and a powerful symbol preserved for many ages - fire. In the background of the creation of the installation and equally important live actions will be both the photo and video archive of the artists themselves, as well as the collaborative creation of situations associated with prepared scrums of plants, fragrant woods, rattlesnakes and elements washed by ocean waves. The central object will become the hearth as sculptural object, the rising smoke and the many-voiced (or silent) prayer as a means of connecting with ancestors present, future and past in one precious time. A purposeful time-lapse collection of video and photo material of fires from different seasons and gardens, supported by careful drying and gathering of herbs, plants and other found material will give rise to opportunities for gathering over specific scents and themes within the courtyard and the gallery itself.