nic než plocha
Slovenského maliara Františka Demetera zaujímajú možnosti a hranice závesného obrazu, maľby ako takej.
Na výstave v galérii SPZ dekonštruuje svoju rozmernú maliarsku inštaláciu s názvom „Plátno na stojane“
(2014) a reaguje priamo na priestor galérie. Je maľba plošná? Je maľba statická? Je maľba plátno? Ako
funguje maľba v priestore a čo ju rámuje? Dráždivé otázky bez vopred jasných odpovedí vedú Demetera
k ďalším krokom ako sa vysporiadať s problémami maľby a obrazu. Maľba je u Demetera procesom,
vrstvením, pridávaním a odoberaním materiálu. Diváci sa stávajú aktérmi v jeho inštalácii.
Gabriela Kisová
- This exhibition in SPZ gallery follows a bit the show00:00:12.020
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- in Krokus gallery in Bratislava that took place about a month ago.00:00:16.176
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- And just like I did there I deal here with a deconstruction00:00:20.680
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- of image and a deconstruction of the process of image creation.00:00:25.011
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- It means I have dealt with the formal framework,00:00:29.538
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- asking whether form is able00:00:33.866
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- to be more important than content.00:00:37.961
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- I am always interested in those problems.00:00:41.999
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- This is one of the wholes of the pictorial surface00:00:45.859
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- that comes from a single piece.00:00:49.979
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- But already back then it was meant to be00:00:53.690
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- a kind of collage of surfaces and it was a single piece.00:00:57.906
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- But even as a whole00:01:01.900
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- I found it to be fragmented and that's what I was interested in00:01:06.036
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- - the fragmentation of the very process00:01:10.765
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- of the genesis of the painting.00:01:14.988
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- And in SPZ I tried to complicate the matter even more.00:01:18.965
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- I am not even sure there be can reached00:01:23.333
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- any kind of point of departure. That's why I was interested in...00:01:27.818
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- maybe it gets to be seen as a view as such00:01:32.010
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- with the viewer entering the door00:01:36.451
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- and thus making the pieces of image to move.00:01:40.796
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- And he can't grasp them visually, he doesn't know00:01:44.921
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- what is going on, and there arises an absurd situation,00:01:48.829
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- just like during the process of creation.00:01:52.857
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- Actually I find all the questions arising during the process00:01:56.694
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- of creation partially absurd, partially illogical and00:02:00.966
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- partially lacking any rational point of departure.00:02:04.634
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- At first, it was meant to be an illusionary painting00:02:08.159
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- but during the usual preparing of the frames00:02:12.450
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- I have found the back side to be much more important,00:02:16.816
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- but also in my approach to painting:00:02:20.995
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- I have always struggled to put in there some detail00:02:25.094
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- or a color nuance. The bigger surface00:02:29.162
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- usually devoured the detail, that's why I started00:02:33.330
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- to do cutouts. And I was thinking00:02:37.714
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- that taking the cutout out of the image,00:02:41.887
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- finishing it outside of the painting and then placing it back,00:02:45.819
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- would make my work easier. And while working with00:02:50.125
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- this "painting" I reached a plateau of polemics:00:02:54.457
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- is it still painting? Is it still object?00:02:58.450
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- What is it, really?00:03:02.775
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- And I find this borderline questioning probably00:03:06.836
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- the most interesting. It has always excited me00:03:11.090
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- when the image reaches the cliff-like status00:03:15.274
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- leaning now and then to various positions,00:03:19.445
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- where it is not possible anymore to claim00:03:23.782
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- that this is painting. Although I try to keep it00:03:27.693
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- restrained on the level, I don't know whether00:03:31.647
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- it is the correct word, of classical painting.00:03:34.772
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- From the point of view of the process it should00:03:38.121
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- still be a classical painting.00:03:41.640
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- I have to apologize for Magda, who is sick.00:03:52.440
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- And as proof for us to believe her,00:03:56.686
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- she has sent a sick note, so, unfortunately,00:04:00.745
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- she couldn't come.00:04:04.663