Analytical exhibition project based on the specific activity of avant-garde artefact, eighth of a second edition of Revue Devetsil focused on the so-called “new media vision”: photography, cinematography, typography as an essential means of visuality modern times.
Red8 exhibition does not aim to create a thorough analysis of historical or art historical study, but is the result of intuitive curatorial work with contemporary art and exhibition space. Inspirational starting point became the 8th devětsilské revue number ReD of 1929, which show symbolically transferred in time to the present and moves it from a printed magazine into space installations. The thematic line number selected ReD is the new vision of media: photography, typography and film. So we focused mainly on the right for its time, new media and their possible transformation into today’s visual and creative thinking in general. In doing so, we are aware that contemporary art is not governed “borders” of the media and elements that ReD attributed exclusively to typography, for example, now includes painting, sculpture, etc. Photos can utilize sequential, that it brings the movie and still camera range conversely evokes the photographic image. Painting on canvas or video give the impression as if caused by the light-sensitive surface and resemble so photogram technique. Paper or poster evolve from a mass communication medium for artistic and unique collector’s pieces. Visual residues constructivism is estetizují to design objects to decorate. Final selection of the exhibited works does not follow the direct links to the full content of the magazine (which is in the center of the exhibition present as a reminder of the historical avant-garde, but also from contemporary works differentiated), is conditional rather gradual associative chain forms a deliberate accent though at the expense of content. Whether participating artists are working with elements of the historic avant-consciously or not, exhibited works carry a residue of avant-garde art in terms of aesthetics and technology, but not in a political or social sense. Of particular importance is thus the overall architectural design of the exhibition in which all the works suspended in space without touching the ground. It is given the impression of lightness emphasizing the autonomy of art, which can not enter in any way with the radical avant-garde vision of merging art with life.