The name of the exhibition of Jan Pfeiffer goes after the ever-present energy which, however, appears on the surface only occasionally and only somewhere is able to transform into dancing flames.Into a fount. Into a source which can continue to feed our imagination and idea of the strength of this energy.
The author is also asking himself the question whether we are now by the source or whether we are only catching its reflection. He has devoted himself to the interaction between thinking and the space in which an individual or society exist – no matter whether the space is what “forms” our thoughts or on the contrary what our thoughts are imprinted in – containers of ideas. Is it possible to take a thought in its full strength out of such an architectural or urban container? And where is the best place?
A girl „dancing“ through eurythmy*, the name of the exhibition, the message about “duration repetition” invites the spectator into the map of Pfeiffer´s recent personal journeys. What is at the bottom is also at the top, the small reflects in the large and vice versa, our movement in time and space is also perhaps a kind of eurythmy. Through movement which enlivens currents of force in the body he gives expression to something which exists independently on man. Pfeiffer examines his journeys as a contemplation over the approach to architectural sources of the mentioned energy. He moves from personal to general when he takes us across a symbolical landscape, from the motif of a flame on the roundabout in Palestinian Ramallah to the crown of the Old Town Bridge Tower and then inside, into the crown and hermit´s cage in one.
Pfeiffer´s projects within the framework of contemporary conceptual space trends give the impression of scientific research, visualization of an intellectual analysis of a given problem. On the other hand, the “construction” of the exhibition is not far from a poem. With a great deal of intuition the artist creates a relationship between distant elements by creating an intellectual gravity center in which the “reader” after getting there can breathe freely. Black and white photographs show sketches of places. Models of realized encounters (with sources) – perhaps similarly as a prehistoric hunter created his picture of what he wanted to summon, hunt, dominate. The absence of colours enables us to concentrate on the form. Form plays a key role in the exhibition – a role of a turnkey and an imitator. The crown from the Old Town Bridge Tower is also characteristic. The tower was a part of the fortifications and at the same time represents the architectural type of a triumphal arch. The crown in the place of the keystone allowing the arch to bear weight. An unnecessary pathos over the imitation of the crown jewels?
Where is the new old beginning of new Palestine? And New York? And what about the life of the old bachelor immigrant? How do forms which consecrate spread? In the 18th century Ernest Chladni succeeded in visualizing music. Patterns associated with vibration emerge on a plate. Fine sand complies with its eurythmy which results in the creation of paths.


*Eurythmy according to Rudolf Steiner, the founder of anthroposophy, is a system of movement, the direct language of the body, enabling immediate communication. Eurythmy expresses in movement the creative principles underlying speech, movements represent basic sounds.
(Definition: Viktor Čech)


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