Variabilita turba
Výstava ‘Variabilita Turba’ naznačuje spôsoby autorovho vizuálneho premýšľania v procese konfrontácie vonkajších a vnútorných obrazov. Podkladom pre vznik novotvarov a nových obrazov je reinterpretácia starej estetiky, minulých reprezentácií a ich vývojovej kontinuity, zasadenej do súvislostí nepretržitých dejín umenia a kultúry. Zo svojej východzej grafickej pozície dlhodobo experimentuje s intervenčnými spôsobmi tlače do nájdených vintážových tlačovín. Jeho série monotypií a monochrómov sú v kontexte aktuálnej výstavy poňaté ako sofistikované obrazové databázy foriem. Horizontálny a vertikálny obraz sa tu rozširuje do priestoru a narastajúcim reliéfnym vrstvením pretlačí či monochromatických kompozícií buduje prekrývajúce sa významové roviny. Zdanlivo nezosúvzťažniteľné obrazy však nie sú izolované významové systémy, naviac, vo vzájomnej komunikácii utvárajú novú a nepredvídateľnú dynamiku. Toto fungovanie je blízke modelu ľudskej obrazovej pamäte, alebo pamäte vôbec, ktorá je podľa tvrdení založená na akýchsi okruhoch, alebo slučkách, ku ktorým ak niečo pridáme, vždy ju tým narušíme.
- The "Variability of Turbo" Show by Svätopluk Mikyta00:00:17.351
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- consists of two installations,00:00:20.679
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- that communicate with each other; that is they are interconnected.00:00:24.238
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- And the first one aspires to be a total installation;00:00:28.486
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- it's a floor installation,00:00:35.239
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- as a white cube situation - it fills the whole room.00:00:38.532
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- A viewer is as if a part of the artwork, he is "within", in the images.00:00:43.855
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- It's like an image database of forms.00:00:48.688
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- It's a multitude of artworks layered over by overprint00:00:52.257
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- and the original meaning is being lost,00:00:56.131
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- shifted, and reinterpreted, in a way.00:00:59.577
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- What's more, the images are layered: by the virtue of the overprint, on one hand,00:01:03.285
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- and by their placement on top of themselves, on the other hand.00:01:07.501
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- In the installation, there is a certain geometric principle in the way00:01:12.093
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- those layers were created, but it is organized also associatively,00:01:16.236
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- creating thus a situation, whereby pictures seemingly unlinkable00:01:22.048
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- communicate with each other and make up a completely new,00:01:27.634
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- often very surprising, or, say, unpredictable meaning.00:01:31.736
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- The second installation uses the found materials as well, mostly monochromes.00:01:38.396
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- These are, for example, posters found in Cvernovka.00:01:45.031
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- So the colour collection is determined by a contingency of the situation, of the finding.00:01:49.089
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- Another example are mathematical instruments,00:01:56.240
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- with their geometrical shapes put together with some banal propaganda photographs of countryside,00:02:00.460
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- for instance a flock of geese, etc.00:02:07.222
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- The concept of the show draws basically from the idea of anti-iconism.00:02:11.344
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- The extent of abstraction makes quite evident00:02:18.866
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- that the image is absent.00:02:22.717
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- The way Svätopluk works may be expressed by "a hole in a flag",00:02:27.795
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- a term that originated in the Hungarian revolution of 1956,00:02:32.557
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- when there were communist emblems cut out of flags everywhere in public space00:02:36.548
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- leaving only a hole00:02:41.802
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- in the single-coloured cloth of flag hanging around the city.00:02:45.691
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- And this a very similar situation, manifest in the artworks,00:02:49.589
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- where a specific symbol, a figurative motif,00:02:53.526
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- something that represents material reality in the image, is erased.00:02:58.519
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- But at the same time, the erasure is also an amendment,00:03:05.867
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- establishing thus a situation, when a symbol isn't valid anymore,00:03:09.749
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- but there is no other to replace it.00:03:14.092
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- So that's what makes it an anti-iconistic show.00:03:18.402