Vojtěch Fröhlich

• It's terrible. Really terrible.00:00:04.863
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• It is some kind of ritual for me.00:00:16.403
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• My goal is to create some special experience,00:00:20.601
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• special moments for me to cling to,00:00:24.939
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• even though I don't have to, because as long as I know00:00:29.228
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• I can't touch the ground, I don't do it.00:00:33.076
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• And even though you don't really do it, notwithstanding00:00:37.167
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• the fact you actually can, there starts to pile up00:00:40.738
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• some kind of ritual, you know, that interests me somehow.00:00:44.351
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• I work often with image,00:01:09.536
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• I have been working with photography,00:01:13.132
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• but I came to realize the mountain climbing00:01:16.506
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• is probably more natural a kind of an expression for me.00:01:20.167
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• So I think it would be a pity to not to take advantage00:01:23.568
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• of the fact when it is possible. But it's not as if I was saying00:01:27.324
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• to myself that I am coming up with climbing,00:01:31.022
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• it's more like a part of my life, so I use it naturally.00:01:34.798
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• In the climbing you can find a parallel of my approach,00:01:37.945
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• every time I am not touching the ground in the space00:01:41.604
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• I am occupying it's sort of an opening of a new dimension,00:01:45.588
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• a new plateau,00:01:49.617
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• a new world of space, or a space in general.00:01:53.945
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• It's as if you... I don't know who says it,00:01:57.962
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• some monk or whoever, you enter some other world.00:02:01.722
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• I create this parallel of new dimension in the art world00:02:05.540
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• and there you can do a lot of things.00:02:09.321
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• Climbing allows you to transcend the limits00:03:12.675
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• of a mundane perception, a mundane idea of reality,00:03:16.625
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• that's why I see it as a medium propre.00:03:20.900
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• Because I can't do the same thing with a pencil.00:03:25.080
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• But again, there are people,00:03:29.195
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• painters capable and skillful enough to take people00:03:33.537
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• on this trip to another world.00:03:37.694
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• They simply take you there, they are able like that.00:03:41.752
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• Well, people work differently and I do it like this.00:03:45.857
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• But it doesn't mean I am going to work00:03:49.963
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• with the climbing forever.00:03:54.084
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• It's just that once in a time it suits me.00:03:58.099
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• It's the most beautiful of all, dude... totally straight,00:04:56.304
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• just awesome. On the left over there,00:05:03.728
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• it can't be seen because of the trees,00:05:06.352
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• what hangs there behind the boomerang,00:05:10.710
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• it's the wave. I will show you,00:05:14.816
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• when we will go down the canyon, from down there.00:05:18.004
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• I was wondering which ones should I take,00:05:21.022
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• but I will take these. They are quite dirty,00:05:25.135
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• but they still have the knuckle.00:05:28.388
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• The other ones are completely worn down.00:05:32.241
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• The things I work with or try to explore in the fine art...00:05:49.458
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• when climbing, you are very close to the fundamental things.00:05:53.610
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• You know, there on the cliffs,00:06:03.026
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• it's the last place of pure nature, as it always was.00:06:07.255
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• There is no mining there. And those cliffs are00:06:11.556
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• one of the last utterly inaccessible places,00:06:15.659
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• you know when you are climbing there,00:06:19.918
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• that since this planet came to be nobody has ever00:06:24.086
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• climbed there. The cliffs were formed for billions00:06:28.330
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• of years and nobody has ever been there. And the nature00:06:32.240
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• you can find there is absolutely fundamental.00:06:35.568
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• You touch an utterly different kind of purity.00:06:39.195
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• But, logically, it's not the case if you follow the paths00:06:43.640
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• taken by other people before you. There are rings,00:06:47.103
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• someone has left a mark there, a lot of people were00:06:50.698
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• there sooner than you. But still, the feeling of those00:06:54.226
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• people ahead of you is very minimal. It's clear.00:06:57.390
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• The contact with nature is very close there.00:07:12.077
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• Your life depends on whether the rock tears off00:07:15.999
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• and you approach the cliff and the climbing accordingly.00:07:24.898
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• You start to perceive the material of the rock00:07:29.240
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• up to the very detail, because if you don't00:07:33.485
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• and you grab a hold that could tear off00:07:37.684
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• and it does tear off, you fall down,00:07:41.711
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• and with any luck you just thrash yourself painfully,00:07:45.984
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• but if you didn't tie your knot properly you can kill yourself.00:07:49.089
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• It's simple as that. Just because you weren't00:07:52.247
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• sensitive enough and perceptive enough of the material00:07:55.602
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• and your surroundings. And this is exactly00:07:58.927
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• the parallel you can find in the fine art and things related.00:08:02.385
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• Once, when I was in Finland, we were doing this thing,00:09:09.450
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• I was there with my schoolmates taking part in a workshop,00:09:13.616
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• and everybody was supposed to work on his art piece00:09:17.849
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• and everybody did something, or he showed what he is doing,00:09:21.924
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• and it occurred to me, well, this is what I do,00:09:25.274
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• it was a studio full of things, the whole building was,00:09:28.951
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• so I told them, let's go, join me on an expedition.00:09:32.283
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• The basic rule is you cannot touch the ground00:09:35.791
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• and let's go climbing through this space.00:09:39.206
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• We have to solve it somehow and we will have to00:09:42.777
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• do it on the spot. The only thing I have00:09:46.160
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• is a rope if we needed to draw something closer.00:09:49.573
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• We will take camera and record it. We went outside00:09:52.832
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• the building and from the start we were only climbing,00:09:56.064
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• over barrister, doors, or we have piled up chairs in there.00:09:59.483
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• There was a mobile pallet we turned into a flatboat00:10:03.199
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• and moved it around and we were journeying00:10:06.583
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• around the building, around the studio,00:10:09.900
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• until we came across the door leading outside.00:10:13.251
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• There was a writing on the door saying00:10:16.423
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• Do not open this door or knock on them00:10:19.760
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• under any circumstances. Except in emergency.00:10:23.135
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• There is some alarm installed, so it can't be opened.00:10:26.255
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• So there we are, in front of the door,00:10:29.557
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• and I say, well we are doing an expedition, because00:10:32.822
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• I had noticed the door before, and I wanted to do an expedition00:10:35.437
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• leading to this door and see what is behind them.00:10:38.741
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• And the supervising girl says: You can't go there.00:10:41.752
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• And I say: What is there? And she says: I don't know,00:10:44.806
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• but it is prohibited to go there. And I say: Well, let's open it.00:10:47.727
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• And she says: No, we will be in trouble.00:10:50.785
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• There is an alarm installed. It will cost a lot of money00:10:53.983
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• and whatnot. And I say: You see, what we are doing00:10:57.537
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• here now, is a performance, right? Nobody touched the ground,00:11:00.560
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• everything will be alright. It's OK. And she says:00:11:03.665
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• But it is not allowed. And in that instant I opened the door...00:11:06.876
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• the door turned out to be leading to a restaurant.00:11:34.550
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• Big abandoned restaurant. There was some event00:11:37.650
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• being prepared at the moment. But there was nobody there.00:11:41.125
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• And some chef peered from the kitchen,00:11:45.186
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• and he was like, what are you doing here?00:11:49.477
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• He was in rage. And I say to him,00:11:53.614
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• we are doing an expedition beyond these door,00:11:57.665
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• we wanted to see what is behind them.00:12:01.834
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• He looked into the door and saw us, fifteen people,00:12:06.093
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• standing on those chairs and tables, leaning on walls,00:12:09.343
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• stacked in various ways on top of each other,00:12:12.678
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• nobody touching the ground, someone on a step ladder.00:12:15.814
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• He couldn't believe his eyes, he was very angry,00:12:19.197
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• like, what do we want, and I say, we wanted to see00:12:23.567
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• what is there. And at first, he was, like, ironical,00:12:27.918
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• not to mention I was saying all this in my bad English,00:12:31.448
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• but he has suddenly changed and said:00:12:34.986
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• Well, come then. And he took us, like, asked us00:12:38.542
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• whether we want to see the ball room upstairs.00:12:41.693
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• There is an old big theatre there. And he took us for a walk00:12:45.323
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• through a big abandoned hotel, utterly vacated at the moment.00:12:48.745
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• And then, we went back through the same door00:12:52.097
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• and, again, without touching the floor we came back00:12:55.551
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• to the front of the building, where we stepped on the ground.00:12:58.972
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• And that was the end of the performance,00:13:02.405
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• and I was like, thanks for your participation in the expedition,00:13:06.025
• 00:13:06.025
• and everybody was like... because, you know,00:13:09.618
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• we were very excited, it was awesome.00:13:12.805
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• And I was hoping that, taking up the challenge like this,00:13:15.761
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• nothing wrong can happen, and if there was a trouble,00:13:19.083
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• and the alarm went off, and so what, we made00:13:22.434
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• the alarm go off, and if there was a fine, I would pay it.00:13:25.511
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• But you know, like... it gets stuck.00:13:28.680
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• When it's a bit harder.00:13:36.151
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• Wait, maybe I can stop it in the middle. It's not possible.00:13:41.132
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• And I can't even wash your window.00:13:44.681
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• Wait then. We'll turn it off. How do you turn it off?00:13:47.799
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• I was afraid it had broken down.00:13:51.094
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• That it would do this all the way back to Prague.00:13:54.567
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• It's like the things that happen to me sometimes.00:13:57.895
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• - The colour of the sky, right?00:14:03.674
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• The one that was now or generally.00:14:09.492
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• - He has different glasses. - Put your glasses on, David,00:14:12.802
• 00:14:12.802
• maybe then you will see it better. - Oh, right!00:14:16.116
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• - No, you must tell it by heart. - I think it is this one.00:14:19.691
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• I like the idea of the general concept,00:14:23.386
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• that, you just imagine it was like that,00:14:26.787
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• then you don't need to tell it all00:14:30.205
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• by providing some documentation.00:14:33.768
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• Like when I was working with the blue ceiling in MeetFactory,00:14:36.726
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• I went to see the parachutists00:14:39.906
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• and we were choosing the colour of the sky00:14:44.152
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• right after their experience of jump and sky dive,00:14:47.776
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• after they landed, in that moment of euphoria.00:14:50.963
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• So I came up to them with that colour sampler00:14:55.340
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• and we talked about the sky.00:14:59.632
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• And you can shoot this, right, you can even shoot it00:15:05.332
• 00:15:05.332
• in quite a visual manner. There you have00:15:09.578
• 00:15:09.578
• the parachute falling, and the guy in the harness00:15:12.882
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• looks like a character from a movie by Matthew Barney,00:15:16.256
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• if you are exaggerating. And all of it can be very visual.00:15:19.605
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• But then you say to yourself how it follows00:15:23.923
• 00:15:23.923
• a specific situation, which... Wait a minute, now straight,00:15:28.440
• 00:15:28.440
• right, we are going this way. But that's not what00:15:31.889
• 00:15:31.889
• is it about, right? It's general.00:15:35.356
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• In this case, it seems to me, stating merely the fact,00:15:40.368
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• that it happened like that, with that one colour,00:15:43.841
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• and which one exactly is of no import, really.00:15:47.360
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• It's more about some connection, some relation.00:15:50.869
• 00:15:50.869
• We have a beautiful alley way here, you see?00:16:12.021
• 00:16:12.021
• It has never occurred to me, that I would ever want00:16:28.250
• 00:16:28.250
• to do a pub, you know, not at all.00:16:31.580
• 00:16:31.580
• And that you tell your self: I am doing it like a site specific,00:16:37.311
• 00:16:37.311
• now, a performance, I am going to be an inn keeper00:16:41.661
• 00:16:41.661
• or a restaurant owner, for some period of time.00:16:45.041
• 00:16:45.041
• And as soon as you tell this to yourself,00:16:48.518
• 00:16:48.518
• you realize it is going to be crazy, I don't know how it is done,00:16:51.720
• 00:16:51.720
• it's thousands things, it is difficult, it's crazy,00:16:55.069
• 00:16:55.069
• you have to put money in it, everything,00:16:58.347
• 00:16:58.347
• it's a risk, that exhausts you in the end.00:17:01.607
• 00:17:01.607
• I was telling myself that being at the school00:17:41.388
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• I am going to work on my final examination project00:17:44.887
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• that is going to be tied to that space,00:17:48.181
• 00:17:48.181
• to the event and the moment I have used to find myself in.00:17:51.834
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• So it didn't work, the place in the school,00:17:55.533
• 00:17:55.533
• the food was terrible, and I have a need for,00:17:58.833
• 00:17:58.833
• how to say it, a hearth,00:18:02.342
• 00:18:02.342
• home made meal or something,00:18:05.709
• 00:18:05.709
• where you can go and it provides you a comfort,00:18:08.883
• 00:18:08.883
• where people can meet, be it morning or evening,00:18:12.501
• 00:18:12.501
• and they can spend some time together.00:18:15.975
• 00:18:15.975
• I thought it's a pity there is some tension between studios,00:18:33.252
• 00:18:33.252
• so I told to myself it would be amazing if they would have00:18:37.584
• 00:18:37.584
• a chance to meet and spend time together,00:18:41.848
• 00:18:41.848
• and maybe they would realize, that they maybe do00:18:45.051
• 00:18:45.051
• a similar stuff but in different way.00:18:48.542
• 00:18:48.542
• But conceptualists work quite often00:18:51.922
• 00:18:51.922
• close to some archetypal stuff,00:18:54.957
• 00:18:54.957
• like the stuff sculptors are working with.00:18:58.341
• 00:18:58.341
• See the hens over there, with the pole, it's cool right?00:19:12.767
• 00:19:12.767
• Well...00:19:30.182
• 00:19:30.182
• it's a thrill.00:19:42.578

1 příspěvek k “Vojtěch Fröhlich”

1. V. napsal30. led. 2015:
   

   Jankovi tam nejak vypadl konec tak az bude na netu tak opravi…

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