In the legal discourse, “an ideal co-ownership” means that something belongs to multiple persons while it is not specified which part belongs to which co-owner. Every co-owner has an equal share of the use of the thing but also of the obligations. Creatively translated by Tomáš Džadoň, the ideal co-ownership calls for an ideal responsibility, ideal motivation, ideal resolve, and ideal participation.
“Ideal” means existing as an idea (from Latin idea / ideālis) and it is an idea of something perfect, something that works perfectly; it is an idea of a situation that has no match. Tomáš Džadoň focuses on an ideal relationship between architecture, monumentality, sculpture and national narratives. In his projects, he tries to free the public places from the rigid ideas of co-existence and from the monuments typified by unchanging shapes. He presents an ideal solution to the dynamics of public space – he uses playfulness, processuality and interactivity as live elements supporting the collective activation and transformation. Playground design (Leopoldov), appropriated square (Sloboda Square, Bratislava) or an intervention into a façade (Czechoslovak pavilion in Venice) and historical buildings (The Brno House of Arts, a chimney of a decommissioned factory in Česká Skalice) are not created to last – quite the contrary. Džadoň understands his role as an artist as a responsibility to define the dynamics of the power of culture and the life of common environment with the help of the “relational” architecture.
All of the projects presented at Krokus Gallery deal more or less with the idea of perfect co-ownership in the context of the wider social, political and recent historical topics such as federalism, Czecho-Slovak relations, freedom and its expression in architecture and urbanism. He translates the principle of memory, utopian ideas and the pathos of nostalgia into animated idealism. In his work, the time structures overlap in such a way that the consequences of historical events, the urgency of contemporary fears and challenges of imagined future crystallize into a universal reflection of the mechanisms of collective memory.
Although the sculptural and architectonic models by Tomáš Džadoň are meant to be realized in the future they are based on the re-evaluations about the past. The author suggests turning the public space into a living intellectual adventure, an act of courage, a testimony of grand narratives, interactive platform for participation, and politics of perception. Ideally. By paying close attention to the architectonic principles and urban strategies, he suggests providing people with the access to the cities, to enliven the country and the experience of an open space. In his eyes, the public space becomes an ideal field of action, an activating element, and a place for thinking, re-evaluation, dreaming, but also a space for creativity, collaboration and transformation.
Tomáš Džadoň takes care of the future and thinks about the past. In this exhibition, he offers the viewers a collection of small models of big ideas. For an ideal viewer, it can be a perfect method of cultural reflection and an impulse to think about public space as a place where one should get to know even that which she didn’t want to know.

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