Exhibition title My Brilliant Friend (Geniální přítelkyně) quotes the novel tetralogy by Elena Ferrante, that is a spectacular portrayal of the narrator ́s friend. The exhibition follows the phenomenon of friend portrait by a couple of contemporary artists. It opens questions of identity, depiction and development of this traditional painting concept in the present era of selfies. Portrait or self-portrait relates to some obsession, which is repeatedly used by authors capturing faces of their family and friends or their own. In general, the human psyche is more sensitive to the reception of faces, and their depiction is faithfully ́engaging and thrilling.
Fundamentals of Max Dvořák´s (*1990) works are the text and the narrative, specifically the talks of anonymous actors. In the exhibition in Galéria mladých (Youth Gallery), we have confronted these talks within controlled setting of a videoinstallation turned inside out. At its core lays a monologue of a man, who is simultaneously presented in sound and visual form. At one hand, we perceive him from the sound monologue, which becomes our own internal voice and cannot be escaped; on the other hand, we watch him in a simultaneous transcript of the sound track presented on a reading device, all this brings us to a special situation, when we become a potential object of his interpretation by double perceiving the text.
Sharing experience through imagination, storytelling, and sharing experiences is a traditional method of psychotherapy used in Jungian-type analytical psychology, especially in catatymically imaginative psychotherapy. The installation, which we are entering at the exhibition of Tania Nikula and Linda Hauerová entitled About trees, a jellyfish and stomachache, at the first sight evokes the impression of a kind of therapy through the imagination of nature. It deals with a person's frequent desire to disappear in the forest, to observe the stars and to enjoy the blending of reality with imagination.
Výstava Kateřiny Držkové spadá do frekventovaného oblasti současného umění zabývající se mediální sebereflexivitou. Navzdory tomu, že se jedná o dlouhodobou tendenci vizuální kultury 20. století, je zřejmé, že je potenciál sebereferenčních přístupů nevyčerpatelný.
Radim Langer belongs to a group of painters who thematise painting itself. It is not only a matter of searching for regularities or justification of one’s own artistic approach, but rather of offering a commentary on the position of painting in cultural history, communication networks, within society, while simultaneously drawing the audience’s attention to their own perceptions and expectations. Thinking about painting involves references to its benefit and, at the same time, to the handicap of traditional media as well as its role in post-conceptual art and self-referential art strategies. Langer draws attention to the tension between painting work and its traditional symptoms like handicraft or originality, and technical elements in terms of subject matter and execution. The logic of this approach also includes the artist’s switching between creative disciplines such as literary activities or curating. The Abstract Machine exhibition is the result of his current re-evaluation of methodological and thought principles of working with painting – with a painted picture. Certain original inner motives and motivations, for example, purely practical examination of a painting in connection with the phenomena of work and mechanical manufacturing, or a reflection of the industrial dimension of the painting-object in today’s visual world, remain unchanged for the artist even though it is not necessary to search for them in contemporary pictures. Previous literality has disappeared, obvious thematisation has disappeared. The current approaches mix abstraction – realism – creating paintings as new realities, working out corporeality and deterritorialising an image based on the cartographic disintegration of the world, the disappearance of nature and one’s own autobiography.
The project was supported by funds from the Specific University Research scheme for 2019.
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 seems, that fundamental characteristic of reality is to check us from time to time and to change the way of play. Disruption of the present way of play is given both by technological changes of the social interaction platform and medial intense external forces. We may call it “technorealism”. Current informational and technological acceleration of society makes not only new identity, but also stability necessary. Moments of disorientation, where senses and pursuit of meaning run at higher speed and backup engines are turned on, open new chapters of our life. Disorientation may serve as an exceptional opportunity to make clear own position within the societal structures and its relation to the world. That said, as a recourse for regaining the orientation.