Fundamenty & Sedimenty / Vzpoura hraček 2011
Výstava se zaměřuje na výběr konkrétních děl umělců několika generací. Tato díla jsou kurátorsky vybrána na základě určitého referenčního klíče. Tím je důraz na oproštěnost a reduktivnost formy a na základní obrazové a prostorové formy – kruh, čtverec, obdélník, linie, osa, krychle, kvádr, koule apod. Zároveň je sledován jejich přenos do zvěcňovaných či metaforických poloh (např. koule/hlava, linie/horizont, obdélník/dveře).
V každém takovémto FUNDAMENTU je odhalován obsahový SEDIMENT, něco, co zde uvízlo a co má svou platnost pro sdělování nějaké situace (prostorové, obsahové, vztahové, významové). Zároveň jsou sledovány i formy v mezistavu, v situaci transformace, formy organické, ale i formy hybridní.
- FUNDAMENTALS AND SEDIMENTS (The Revolt of Toys 2011)00:00:06.609
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- I chose the title "Fundamentals and Sediments"00:00:12.780
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- because in each of the 26 presented authors00:00:18.201
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- I focused on works that reflect traits00:00:24.454
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- of depersonalization or formal reduction.00:00:30.226
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- First I had to establish a historical scope.00:00:33.800
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- I wanted to include works by Vladimír Kopecký00:00:37.163
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- who is the oldest author here.00:00:41.053
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- The youngest ones were born in the 80's.00:00:43.568
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- My choices were driven00:00:46.909
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- more by the individual works,00:00:49.909
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- rather than by the desire00:00:52.909
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- to include some particular authors.00:00:55.679
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- For 6 months I flipped through portfolios,00:00:58.904
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- trying to find works00:01:02.289
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- that would fit my exhibition.00:01:04.789
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- I put together a field00:01:30.325
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- of simple forms and signs00:01:33.325
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- that I started to use as fundamentals.00:01:38.842
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- By fundamentals I mean the basic elements00:01:42.288
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- that appear in visual culture00:01:46.987
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- and carry various meanings.00:01:50.531
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- I refer to these meanings as "sediments."00:01:55.111
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- They can be manipulated and rearranged.00:01:58.736
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- I designed the exhibition00:02:41.450
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- as a single-structure field00:02:44.694
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- consisting of a flowing part00:02:47.929
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- that has a start and a finish,00:02:50.929
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- and of five thematic sections,00:02:54.379
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- dams on the river of the exhibition.00:02:57.422
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- The result is a flowing structure00:03:00.773
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- that allowed the fundamentals00:03:04.975
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- to adopt other contexts and connotations00:03:07.975
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- than they would adopt00:03:11.996
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- in an exhibition built chronologically00:03:14.496
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- or in another conventional way.00:03:17.982
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- THE REVOLT OF TOYS Directed by00:03:38.719
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- The exhibition is concluded by the projection00:04:04.514
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- of a post-war anti-fascist movie00:04:08.679
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- "The Revolt of Toys."00:04:11.502
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- It's here to counterbalance00:04:13.971
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- some of the highly formalist works00:04:16.914
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- exhibited here.00:04:20.276
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- It has a clearly expressed ideological content00:04:22.274
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- but if you put the content aside,00:04:26.617
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- you're left with the image of a toy workshop,00:04:30.165
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- with toys representing forms.00:04:34.165
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- The workshop is in danger.00:04:37.165
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- I see this as a metaphor00:04:40.338
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- changing the meaning of the exhibition.00:04:43.234
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- You'll find the movie00:04:46.572
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- at the end of the exhibition00:04:49.572
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- and after seeing it,00:04:52.601
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- you may start to understand the exhibition00:04:55.456
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- through the prism of a new sediment.00:04:59.261
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- Artists00:05:06.433
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- Music Camera, editing00:05:15.232