Exhibitions

Photographs ILE DE SEIN I are an introduction to the entire Training Ship exhibition. In fact they define the fundamental basis and game rules and thus create the axis of the whole installation.
Pěchouček’s cycle ILE DE SEIN I was created on the seashore of the same Breton island in just ten minutes by regular taking pictures of the south horizon of the Atlantic ocean and it shows a minimal change of the same view.
On the resulting film strips of contact photographs hidden in 3mmpasse-partout we can see the ocean horizon as a diagonal or an element falling out behing the egde of the visible. The pictures were taken purposely without the use of a tripod. The photographs represent another three principles pervading through the exhibition line – colour, diagonal and meaningly the most important aspect of hiding.
The Training Ship exhibition is divided into two parts, the bottom part is predominated by Martina Holá’s video installation. Paper model animations theme all above mentioned principles. The colourfully monochromic video Waves shows a diagonally hurtling sea wave through a still and unchanging landscape relief. The wave repeats cyclically and it closes the time circle. The motion is visible only in a partial elliptic cutout defined by the light coming down. The motionless, static and flat is pervaded by an inner motion.
Inner motion as a real painting drama escalates in the top part of the exhibiton where Michal Pěchouček presents his current paintings. He creates individual surfaces and embossed structures on the paintings by gradual laying many coats of basic spectral colours, overlaying, stitching through the canvas or with the help of the well-tried technique – textile assemblage. Resultant embossed paintings depict sailing boat motifs with a stress on details in the form of diagonally geometrical shapes of sails, masts and rigging. But the motif needs a certain symbolic touch. The omnipresent circle or ellipse gives the motifs a character of some spiritual symbol and emphasizes the sign nature of the paintings. The ellipse becomes a symbol of the framing as well. The framing is something that decides about being hidden or exposed, about “here and now” inside and outside the painting.
The common project of Michal Pěchouček and Martina Holá is topically touching the inner dynamic motion that gains rather recursive or cyclic character of constant hiding and making visible. The hidden motivates us to abandon the mere sensuality of the surficial aesthetical perception and invites us to a mind journey, an intellectual work which is hidden beneath the surface. Antique philosophy calls this journey the “secong voyage” – a sea voyage when the wind ceased to blow and it is necessary to paddle.
Pavel Kubesa

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