Reports

„True symbol of an inteligence is the snail´s little horn with a tactile sight.“
Adorno/Horheimer

Antimatter, Hitler, symbolism, alfa men, women, dwarfs, tattoos, bones, superstring theory, the realm of internet, Pope´s bootlickers, fetishes, laws, sex, darkness, Jung, samples, masturbators, fanatics, perverts, mountain massif, moonlight, Icelandic waterfall, pets, isle of dead, Guttfreund, sticky past, cave, surrealism, lamb´s skin, shamans, clowns of night…It is very arduous to reach the creative psychological plates; the associations which characterize the works of these artists have their meanings buried deeply, yet we can read them directly from the surface. From the philosopher Gilles Deleuze comes this impressive sentence: „Art struggles with chaos to make it sensible“. At stake isn´t a stimuli for interminable burst of forms but a challenge to precisely articulate vast informational and inspirational worlds which through time often become a farce or a nihilist joke. The thought image of the gray sky of the past into which the artist is constantly forced to make light cracks to reach the monument of the new continuity, as Deleuze claims, isn´t therefore unrelated to the subject of this exhibition. Each of the chosen artists is known for his/her powerful and unique force, by means of which he/she contributes to a general phenomenon which we can understand as the transition from the review of modernity to its empirically or romantically experienced value.

Shift between thinking about the past among generations seems to be one of one of the most important moments. The specific kind of artistic cognition, the imaginary composition of chaos created by the artists indicates a certain metamorphosis within the artificially defined contexts, into which they were, could have been or are inevitably classified. It is an inconspicuous shift which makes from the mixing console of postproduction another interesting object to be further divided. It is an opportunity to divert the already tired attention paid to the context of the conscious work with the archeology of history to the psychologically conditioned source of artistic creation, to its non-speculative key. Thus the particular objects do not to pose questions such as where and when presence begins in relation to modernity but just the opposite, when and why modernity begins in relation to presence. We are not to ask ourselves which form of the past we should use for the reflection of contemporary reality but, on the contrary, we should enquire about the real meaning of the past artistic form for contemporary reality and the artist´s inner life through which his/her desire and intellect are articulated that manipulate those chaotic sediments or his/her own legend as the author.

The archetypal, subliminal or self-referential character of the exhibited artworks expands to the outer space in a slightly unusual manner. The thaumaturgic gestures and surfaces of Vladimír Skrepl´s paintings and sculptures, romanticizing and fragmentarly combined paintings of Viktorie Valocká, Tomáš Roubal´s anti-advertisment objects and graphic assembly staffage, brutalist constructive system of Filip Smetana´s spatial interventions, fragile radicality of Dominik Lang´s sculpture and animal drifting multiplicity of signs and visual parenthesis in Julius Reichel´s artefacts are the sources of vibration, where the melodramatic collisions of totally different fundaments take place. Emotion, play and pragmatism, confusion, discreetness and firmness result here in a constellation of islands of clear subjectivity where the guessed truths and aesthetic flows are concentrated. To step into such energetic field thus means to humble all expectations in the name of a tactile sight accompanied by the absolutely reified intellect.

Radim Langer

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