Nulla Dies Sine Linea
The exhibition Nulla Dies Sine Linea is a part of a project which surveys the place of drawing on today´s art scene. The exhibition presents the work of twenty-one young Czech artists who use drawing within the framework of their postconceptual thinking. Drawing is a classical medium which stood at the birth of art language. Man has always used drawing as an immediate medium for recording since time out of mind. Since antiquity drawing has been considered as a tool for studies, the foundation stone in art education, serving also a criterion for evaluating quality. Drawings also enabled to evaluate the abilities of artists to tackle academic forms, canon of representation. Simultaneously drawing has always served as a tool of intimate, personal art gesture. Drawing partly lost this dichotomous role of a supporting and basic medium with the advent of the rebelious modern, it frees itself and in the second half of the 20th century drawing gains a position of an individual means of expression, an independent, definite art form. Today there is a great number artists for whom drawing is either a fundamental means of expression or represents a parallel path of their work with other media. The exhibition Nulla Dies Sine Linea aims at showing the role of drawing in the work of different artists and its crossovers. There are drawings that crossover into the space of installations, site-specific installations or supplement objects (Petr Dub, Pavla Gajdošíková, Markéta Jáchimová, Matěj Smetana, Jan Pfeiffer), respond through interventions to public space (Libor Novotný) or express a performance gesture (Mira Gáberová, Adéla Součková, Magdalena Stanová). The artists explore the borders of possibilities, formats or drawing means (David Böhm & Jiří Franta, Aneta Bendáková, Nikola Čulík, Michal Drozen, Petra Herotová, Markéta Hlinovská, Dana Sahánková). In contemporary art drawing may also serve just as a documentary means (Miroslav Hašek), or on the other hand in some cases as a slightly obsessive Zen meditation (Jan Nálevka, Daniel Hanzlík). The exhibition also takes into consideration the role of drawing within the framework of electronic media (Matěj Smetana, Jan Pfeiffer, Conrad Armstrong). The exhibition Nulla Dies Sine Linea is a part of the project Postconceptual overcrosses in Czech drawing and a publication on the role of drawing on the Czech art scene in 2000 – 2014 will be published next year. Other exhibitions held this year in Altán Klamovka in Prague are a part of this project.
- The exhibition name Nulla Dies Sine Linea00:00:17.332
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- comes from a Latin sentence00:00:20.978
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- Not a day without a line drawn.00:00:23.878
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- And the subtitle is Post-conceptual Enjambments in Czech Drawing.00:00:26.983
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- The cornerstone is the view on different positions00:00:34.971
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- of drawing which becomes within00:00:39.683
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- the post-conceptual reflection a part of00:00:43.012
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- an art expression within an intermedia statement.00:00:46.919
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- I was inspired by an exhibition I saw00:00:58.959
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- in 2010 in MoMA during my scholarship in New York.00:01:01.404
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- There I realized that drawing,00:01:08.129
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- which is a traditional art medium, can be00:01:11.443
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- regarded from other viewpoints00:01:16.140
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- in the course of the 20th century.00:01:19.483
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- I remember Lenka came to my studio00:01:25.379
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- and she said she had been inspired by00:01:31.740
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- an exhibition in MoMA she found fundamental00:01:36.782
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- because of its theme and that she would00:01:43.568
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- like to bring it to the Czech Republic.00:01:46.198
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- She said she had not managed to get00:01:51.283
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- a catalogue she had wanted very much.00:01:54.109
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- I took the catalogue from my bookcase00:01:56.987
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- and we were both very pleased.00:02:00.256
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- I was happy we shared the same00:02:02.018
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- fascination by the exhibition and00:02:04.694
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- she was happy I had the catalogue.00:02:06.412
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- Part of the project is a five-day workshop,00:02:18.423
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- the authors come and create right on the spot.00:02:22.702
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- My intention was to select seventy percent of the works00:02:26.315
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- and the remaining thirty percent I wanted to00:02:30.604
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- be created right here in the Emil Filla Gallery.00:02:33.392
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- The work is called Pressure in the Back,00:02:45.694
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- It's a line changing by pressure exterted00:02:49.336
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- by two people who have a shapeable rod00:02:53.883
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- between them and they are coming closer to each other00:02:59.072
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- in three phases and changing the straight line into an arc.00:03:03.171
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- They look almost like caryatids, but it's00:03:08.371
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- not the pressure from above but from their back.00:03:11.120
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- This animation I made in 201000:03:18.056
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- during my scholarship in New York at Cooper Union,00:03:21.505
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- it's four phases of a city from above,00:03:24.418
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- spatial visions of four different variants00:03:29.046
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- of what may cities look like.00:03:33.059
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- This work is called Drawing without an Author,00:03:43.457
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- I've always kept visualizing a blank sheet00:03:45.862
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- of paper in which the drawing is already included.00:03:49.389
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- The installation I made for this exhibition comes00:04:11.245
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- out from a cycle called Know-how.00:04:16.047
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- Formally the installation cycle attempts to return00:04:18.770
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- to the issue of a clash of painting and non-picture art,00:04:23.450
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- which means my 3D installations always00:04:32.200
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- go back to a painting frame somehow.00:04:36.493
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- I'm concerned with the discord00:04:41.527
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- between visual and let's say high culture.00:04:43.640
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- Subject of the installation is the philosopher Slavoj Žižek,00:04:48.843
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- who, thanks to his popularization methods00:04:53.186
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- and presentation of current psychoanalysis and philosophy,00:04:58.140
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- enters a field which makes use of00:05:02.976
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- relatively plebiscitary materials or methods.00:05:07.114
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- I find the conflict of this seemingly high philosophy00:05:12.825
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- and an ordinary operation of Hollywood or any other00:05:17.674
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- media reality quite an interesting mixture.00:05:23.105
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- In the Emil Filla Gallery, I present my new work00:05:53.248
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- called the Fall of Louvre.00:05:59.177
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- It's a thirty metre long sequence describing00:06:04.818
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- the decline of Louvre looking into its interior.00:06:08.983
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- The work comes out from two paintings by00:06:14.065
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- the French romantic painter Hubert Robert,00:06:18.509
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- who painted a look into the Louvre in the 19th century00:06:24.105
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- and then he painted a fictive vision of what00:06:31.978
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- will the Louvre look like when it's in ruins.00:06:35.498
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- I took these paintings as two extreme situations00:06:41.526
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- and I sketched out a gradual decline00:06:45.206
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- taking place between the two phases.00:06:48.776
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- An advertisement is a perfumed carcass.00:07:11.613
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- An emotional blackmail is prerequisite for a relationship.00:07:17.030
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- The exhibition should bring a new curator00:07:23.862
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- perspective on a traditional drawing medium, which may00:07:28.338
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- be after visiting this exhibition perceived as00:07:33.674
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- a medium which is very attractive and progressive00:07:39.568
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- for the contemporary young artists, who00:07:46.924
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- can carry on working with it and develop it.00:07:53.210