Reports

One of the main topics in Demeter’s oeuvre, which also resounds in this exhibition, is the question of what is the essence of painting. In the course of the twentieth century, this once “royal art discipline” has had to cope with radical changes and painting today is just one of a wide range of disciplines. In his NO YES NO exhibition, František Demeter declares his adherence to the tradition of painting and he also re-evaluates its well-established approaches, looking for other scenarios. The artists decomposes the basic elements of painting and depiction, puts in doubt their function and significance, and places them in the process of creation into provocative relations. He pays much attention to the frame of the picture itself, which usually fulfills the function of the carrier of the painting. The choice of the format of the picture is usually the artist’s first step. In his newest work, Demeter does not content himself with standardized formats such as a rectangle or a square, but he uses irregular shapes. He turns the wooden slats from the back of the usual painting canvas into the main elements of the composition which determine the final appearance of both sides of the picture. In several works, the back becomes the front of the painting; the painted rear side of the frame claims the viewer’s attention. With his principle of inversion, Demeter appears to be pointing out that the details, which are at the first glance invisible, are often more interesting than the immediately accessible reality of the painting.

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