Transformets
Ahoj Milane,
mám jen jednu otázku (všechny ostatní jsou podružné a vyplývají z ní). Proč vlastně nemaluješ? Sám říkáš, že to umiš, i já si myslim, že jsi v tom velmi bravurní. Je to právě proto? Copak nemáš témata, přiíběhy, utkvělé představy, nebo mihotavé vzpomínky z minulých životů, vize, sny, bizarní představy? Pořád je co malovat. Nebo není?
Domnívám se, že spousta lidi ‚tvoří‘ módním způsobem, protože prostě malovat neumí. A právě od lidí, kteří nemalují, nebo nikdy nemalovali dobře, někdy slyším, že je malba pasé. Tak fotí, natáčejí, instalují… Proč někdo jako Ty, když je nadaný takovým darem, ho nevyužívá a nerozvíjí? Nechápu to. Troufám si dopředu nesouhlasit s Tvou možnou odpovědí, že přeci maluješ. Jistě, můžeme se přít o to, kde malba končí, nebo začíná a co už malba není. Když se ptám, proč nemaluješ, ptám se, proč nepoužíváš malbu k vyjádření pocitu, o kterých mluvím na začátku. Proč se tak výrazně konceptuálně zabýváš ‚pouhou‘ technologií a estetickými možnostmi druhotně použitého materiálu, nebo materiálu, který je primárně podpůrný?
Díky Pavel
Ahoj Pavle,
Já nevím! Nechci vytahovat argumenty o vývoji umění a toho, jak by někdo (nebo všichni) měli vnímat malířské gesto (jakkoliv i o tom si myslím mohu prohlásit, že i: „to umím“).
Jestli to jde… umět malovat a zároveň nebýt malíř… tak to asi jsem. Proč se tak stalo, to úplně nevím, ale souvisí to určitě s tím, že zalíbení nacházím tam, kde bych ho jako malíř nemohl nalézt.
To, že při svojí práci nakonec dělám pohyby s nástrojema, který k malování obyčejně slouží, nemůže stačit k tomu, abych přesvědčil sám sebe, že jde o malbu, natož o umění. Stejně tak fakt, že na některejch mejch věcech je vidět, co zobrazují, neznamená, že jsou to obrazy, natož kvalitní. Myslím, že posoudit, co to vlastně dělám, musí někdo jinej. Moc mě mrzí, že ti na tu jedinou otázku nedokážu slovama odpovědět. Nemyslím si ale, že je tolik důležité, jestli maluju nebo ne. Věřím, že když to, co dělám, mě baví – tak možná, že to bude bavit i někoho dalšího. Zatímco u malby je nejdůležitější ten, kdo maluje, pro obraz je určující ten, kdo se dívá.
Díky Milan
- The exhibition's name is a play on00:00:07.940
- 00:00:07.940
- Transformers, a film series my son loves.00:00:10.425
- 00:00:10.425
- It's related a lot to the fact there are cars changing into robots and back.00:00:17.369
- 00:00:17.369
- The truth is that I don't engage in robots that much in my work,00:00:24.484
- 00:00:24.484
- but I work with the picture format which I make up and mutate all the time.00:00:31.268
- 00:00:31.268
- So the transformers was more than obvious.00:00:38.097
- 00:00:38.097
- At the exhibition I display series which can also be presented individually.00:00:41.176
- 00:00:41.176
- In the basement there is presented a series called00:00:52.863
- 00:00:52.863
- The Last Copy From The Copy Of Josephine Mutzenbacher 2.00:00:55.973
- 00:00:55.973
- Josephine Mutzenbacher 2 is a German porn film from 197200:01:01.966
- 00:01:01.966
- which I saw in the 1980s on a very poor quality video copy.00:01:09.164
- 00:01:09.164
- This film meant for me and I guess for many boys from the then Czechoslovakia00:01:15.720
- 00:01:15.720
- an introduction into the world of advanced sexuality.00:01:23.730
- 00:01:23.730
- Because I partly deal with sexuality at the exhibition,00:01:31.809
- 00:01:31.809
- I decided to present one shot from the film in a sequence,00:01:36.586
- 00:01:36.586
- in five frames fitting into each other.00:01:44.249
- 00:01:44.249
- The horizontal line is straight and it represents the time,00:01:51.946
- 00:01:51.946
- and here the next one presenting another film frame should fit.00:01:56.566
- 00:01:56.566
- When I started to make the frames,00:02:02.987
- 00:02:02.987
- they appeared very testifying to me.00:02:05.604
- 00:02:05.604
- It often happens to me that I come to like the painting's frame so much00:02:10.652
- 00:02:10.652
- that I don't make the painting there any more.00:02:16.508
- 00:02:16.508
- It happened in this case as well,00:02:20.032
- 00:02:20.032
- I started to work on the frames,00:02:24.940
- 00:02:24.940
- I realized that I used canvas on them in exactly another diction than usually.00:02:27.442
- 00:02:27.442
- Frames usually support the canvas,00:02:34.219
- 00:02:34.219
- but here the canvas holds the frame together.00:02:37.340
- 00:02:37.340
- This fact captivated me in so far00:02:40.491
- 00:02:40.491
- that I started to paint on the fragment of the canvas,00:02:42.535
- 00:02:42.535
- I changed the colour for a fluorescent one00:02:47.203
- 00:02:47.203
- so when you switch off the lights, it is possible to see the depiction00:02:51.093
- 00:02:51.093
- completely extracted from the frame subjectivity.00:02:57.725
- 00:02:57.725
- On its own it appeared quite a presentable theme to me,00:03:01.807
- 00:03:01.807
- but when another series presented at the exhibition developed,00:03:09.891
- 00:03:09.891
- it occurred to me that I could stretch canvas00:03:15.218
- 00:03:15.218
- on the existing frames at least once00:03:18.443
- 00:03:18.443
- and paint there what I had originally intended.00:03:22.022
- 00:03:22.022
- This is how the painting named after the series originated.00:03:26.098
- 00:03:26.098
- In the brackets I mention it is a baroque variant.00:03:30.758
- 00:03:30.758
- Just as other paintings at the exhibition Transformets,00:03:37.468
- 00:03:37.468
- this "baroque" one is unfinished as well.00:03:42.578
- 00:03:42.578
- I consider these unfinished paintings very important00:03:49.524
- 00:03:49.524
- regardless of what they portray,00:03:53.835
- 00:03:53.835
- because for me the art lies in the process00:03:57.654
- 00:03:57.654
- which is much more interesting than the moment of having it finished,00:04:02.966
- 00:04:02.966
- when there is nothing else to add.00:04:09.352
- 00:04:09.352
- For example in case of realistic paintings someone starts to assess00:04:12.524
- 00:04:12.524
- whether the painter managed to approach the seen or photographic reality00:04:17.277
- 00:04:17.277
- and it suddenly starts to be a competition.00:04:22.716
- 00:04:22.716
- I am interested in the painting at the moment00:04:26.455
- 00:04:26.455
- when there appears everything what should be there00:04:29.360
- 00:04:29.360
- but theoretically there is still a lot of work to be done00:04:31.910
- 00:04:31.910
- but this work might just about become a show.00:04:34.557
- 00:04:34.557
- Other things at the exhibition are not00:04:39.298
- 00:04:39.298
- as compact as the series Josephine Mutzenbacher,00:04:42.863
- 00:04:42.863
- but they are always in a multi-angled frame00:04:50.702
- 00:04:50.702
- and every painting bears at least one form which00:04:59.571
- 00:04:59.571
- seemingly has nothing to do with the form presented.00:05:04.972
- 00:05:04.972
- The paintings often fit together by some parts of the fragment00:05:14.196
- 00:05:14.196
- so they look as if they were related shards,00:05:17.556
- 00:05:17.556
- no matter how their themes are unrelated.00:05:20.608
- 00:05:20.608
- Sometimes the paintings are presented without their frames,00:05:25.628
- 00:05:25.628
- from their insides or else.00:05:29.685
- 00:05:29.685
- It is up to the viewer to find the connection.00:05:36.194
- 00:05:36.194
- I didn't want the exhibition to be primarily conceptual,00:05:41.220
- 00:05:41.220
- I wanted to have it visually rich.00:05:47.982
- 00:05:47.982
- I discovered I wasn't able to avoid the conceptual work,00:05:52.545
- 00:05:52.545
- but I made use of the concept to break up the pure conceptual impression.00:05:58.365