“How does global impact local, common become private, normal rare? Why do we call talks about weather “small talks”? Is it possible to expect unexpectable? Isn´t it only a dream? A nightmare? Can you imagine next winter? What do you see? Snow?”
Michaela Casková´s exhibition Small Talks #3 is next from a project series based on fascination, talks and notes on weather. Weather as a topic is here changed from scientific calculations of probability resulting from accurate data into metaphors, which often present rather improbability or impossibility of predicting the future.
Michaela Casková is a member of Finnish collective Mustarinda, which creates projects dealing with sustainable values and lifestyle, ecological and cultural diversity, art critique, education, and intertwines various fields of art and science, or provides residential stays for contemporary artists. Michaela Casková is also the creator of illustrations under naposedu.
The installation Conveyor´s scrolls is a joint work of artist Tomáš Kocka Juska (1994) and artist Alex Selmeci (1994). Both are graduates of the Contemporary Image Studio of the Faculty of Arts of the Technical University in Košice and since 2017 they have created several joint projects under the Edgar & Ota studio brand. Their installations of material objects and video essays often respond to a specific space. In the selected material, prefabricated elements and LDPE, critical attitudes are anchored in the topics of the environmental crisis or the relationship between human and non-human entities.
He told me, what I wanted to know for a long time. I thought, that knowing it would make me calm and happy. He took a deep breath and revealed that secret to me with godly awe. I forgot it in a couple of minutes. It was either some bogus or something, I knew already. It just made me a bit fed up. I told myself, I would find it on the internet, but then I just didn´t feel like it. I already opened a browsing window, but then some pop-up window appeared on the screen about designing accessories from plastic bottles."
Retouch (v) improve or repair (a painting, photograph or other image) by making slight additions or alterations.
"full-colour images can be retouched, enhanced, or colour-corrected"
The presentation of Lenka L. Lukačovičová, Slovak photographer, is based on her long-termed program of creating photographic cycles, in which she repeats or refers on civil actions, representatives of underground art scene of the 70´s – 90´s in Czechoslovakia, which are recorded through the pictures. Known is the lifetime cooperation of conceptual artist Július Koller and photographer Květa Fulierová, who recorded many of his actions. In the artworks of Ľubomír Ďurček, the relationship between photography and performance is even more blurred, specifically in the works, where he worked with physical dimensions and compositions of public space with distinctive geometry. He completed or changed those with a subtle intervention, by presence of his body. Ľubo Stacho works with time and he makes portrayals of people after some periods of time, who for this particular situation of shooting expose themselves into some sort of civil performative form. At the other hand, Rudolf Sikora uses photography as a record of action, which took place and left a temporary sign in the landscape. All these perspectives are evaluated by Lenka L. Lukačovičová and in her authorial diction she explores them again. In contrast to Barbora Klímová, who was more interested in the sociocultural advancement of gestures within the changed political context at the repeatitions of selected actions of the Czech conceptualists from the same time period, Lenka L. Lukačovičová explores this topic rather from the position of a photographer and instead, she conceptually problematizes the relation of photography and performance.
Last summer I administered applications for the 2018 open call into the Galerie mladých. Last month I ’ve been receiving few applications a day. I recall dedicating more time to the Lukáš’s one. His texts were brief and direct, stuff in his portfolio was the exact opposite. At the end, there was a link to a video, to the documentary of his installation in the underground gallery in Košice town center, its beginnings were initiated and the space is run by him. Virtual video tour guided me through couple of corridors and rooms, complexly changed to a perfect, yet inorganic land full of lights, reflections, pictures, flowers objects and illuminating furry boxes. He’d been creating the environment for four months.
Structures of the arrangement. Rotation and mirroring. The centre point. Mirroring axis crosses the point of rotation. The beginning is also the end. Symmetries, circles and line.
The simplest definition of algorithm says that it is an ultimate sequence of accurately defined instructions for completing specific task. If so, is a word, sentence or film an algorithm, too? Words and sentences consist of letters, films of static cells. Only the right combination of them makes a statement? And what if these two systems analogically interconnect? And how would you explain the metaphor in such arrangement?
The exhibition concept works with a biased choice of authors of moving image (from videos to experimental films), who are connected by common axes or points: interest and use of characteristics and structures of used medium from digital to analogue; documentary nature of record of ordinary, civil situations; and tracks of literature or texts. Those transpose to auto-reference, a script replacing the soundtrack, and own or found poetic statement arranged according to vague coincidence.
Illusiveness, imagination and mystery.
I first accidentally omitted the word Anthology from the exhibition name when compiling information for the gallery program. Just when I was thinking about how to best describe and name the installation that was created in Galerie mladých this exact word came to mind.
All the emotions and events of the year are embedded in the portrayed symbols and subtly so also in the changing artistic expression, that is drawing and painting. The reader goes over the topics in a series similarly to the way they would if they read through chapters of an anthology. It is no accident that I speak of reading. Anna Fiedlerová accompanies her paintings with lyrical comments which are, however, not a part of the installation or of the paintings themselves.