Many books were dedicated to colour (My Name Is Red), genres are coined by colours (red library, white telephones), colour can express an opinion or an ideology (green, red, brown, white). This is a phenomenon by which we name and interpret the world. At the same time, the color is unstable, fluid, although we try to mark it accurately, measure and anchor it. It is fully dependent on our vision and on its medium. The exhibition turns to blue, a colour associated with our post-internet situation, the interchangeability of the virtual and the real worlds, but also the colour of sky, water and infinity, and of course the color of the concept of European integration, right wing and repressive forces of the state.
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.
In her Tumbleweed project, Eva Rybářová focuses on questions of seemingly intimate feeling of ungraspable impulses, which in fact lead to shared, often generic and much generalized aesthetic symbols. In the strict sense, the author compares the use of basic English as a possible poetic language and the deconstruction of images from the photobanks. For her, a photobank presents a visual archive defining common criteria of the mainstream aesthetic values. She works similarly with sound and typography banks. Using branched rows of allusions, she refers to romantic motive of exploring the relationship between the individual and their environment and world as to a functional device for studying the nature of contemporary life in a developed country. Main secret to immersing into the depths of the Tumbleweed exhibition structures is the understanding of poetic experiment. In the collection of poems with same title, the author uses basic English as a standardized aesthetic language free from nuances needed for individual identification. She construes real experience with technology, globalisation or the Internet, so that she can reveal to what extent our experiences are same, or how little of same sources are needed, so that we come to different conclusions.
We are oversaturated with visual perceptions and stimuli. They attack us from around every corner, lure us and pull our gazes, flow into us from an infinite number of screens. We find in them the culprit of the distraction of our attention, the feeling of wasted time and any dissatisfaction in our lives. We get carried away with them on endless escalators of trends that take us nowhere. The logical counter-movement is then stopping the view, slowing down the time, fixing the frame, turning off the zoom. We apply the emergency brake and, despite the interest in the necessary minimum of basic communication or imaging procedures, we get not only the essence of photography or photographic effect, but also the tangibly beautiful, which we are not afraid to relate to (despite all the overcrowding and cynicism). Conscious use of the simplest photographic principles (such as shallow depth of field) seems to paradoxically return lost contours to photography. Maybe it's time to bring the term "photogeny" back into play. Give it new contents. For example, touching by sight.
We are oversaturated with visual perceptions and stimuli. They attack us from around every corner, lure us and pull our gazes, flow into us from an infinite number of screens. We find in them the culprit of the distraction of our attention, the feeling of wasted time and any dissatisfaction in our lives. We get carried away with them on endless escalators of trends that take us nowhere. The logical counter-movement is then stopping the view, slowing down the time, fixing the frame, turning off the zoom. We apply the emergency brake and, despite the interest in the necessary minimum of basic communication or imaging procedures, we get not only the essence of photography or photographic effect, but also the tangibly beautiful, which we are not afraid to relate to (despite all the overcrowding and cynicism). Conscious use of the simplest photographic principles (such as shallow depth of field) seems to paradoxically return lost contours to photography. Maybe it's time to bring the term "photogeny" back into play. Give it new contents. For example, touching by sight.
