Reports

The title of the exhibition is a paraphrase of the theological term “sacrifice of the intellect” (sacrificium intellectus), which C. G. Jung used in his work Psychologische Typen.

The reference to Jung and the role of psychology in visual art shows how important it is for Dominik Hejtmánek because it also expresses a certain unorthodox relation of his exhibition to surrealism. However, the inspiration is really inconspicuous and is apparent only in the use of collage, which is moreover a quite contemporary one – a digital one. In an immaterial, virtual studio he „cuts and pastes“ fragments of (sur)real objects.

Dominik Hejtmánek´s approach to the gallery´s space is a generous one, he uses large-scale prints and is convinced that the exhibition should make the spectator feel the exhibition is one organism and not individual stops in front of each work. He plunges into a game on the verge of reality and fiction and confuses the spectator. His principal medium is the illusion of space – a certain volume, interior. However, the impression of space which the spectator gets from a certain distance or angle, always turns out to be a deception brought about by the photographs. There is no inside, the intellect is deceived. The only spatial element is the line accentuating the outline of the front wall of the room. This inconspicuous line on the contrary seems to be quite flat. It is a reaction to a specific feature of a concrete space (the same as the three collages in the same room copying the size of the door) and simultaneously he deals with documentation and reproduction of a work of art because on a photograph this intervention (except for detailed views) will always look non-spatial and is therefore in fact non-documentable.

The counterbalance of the „constructivist“ arrangements in the first part of the gallery are „more organic“ arrangements of growing circles in the second part of the gallery. While from a distance they look spatial, when we come close we can see their real essence – a multiplied picture of a sculpture of a giant sphere. Perhaps the most mysterious is the photograph of a drain hole. Although it shows a non-manipulated view of a black hole on a water surface it looks quite unreal. This feeling is of course augmented by the entire deceptive character of the exhibition and the spectator realizes how his „intellectual“ perception is influenced and distorted by the entire context. One must look „inside his own head“, the seat of intellect, and discover that there is „a black hole“ there which often swallows facts and invigorates deceptions. It is mainly (self)deception that plays such an important part in imagination which plays the key role in artistic creativity.

Tereza Jindrová

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