What is incalculably far from us in point of distance can be near to us. Short distance is not in itself nearness. Nor is great distance remoteness.
Martin Heidegger

There are many ways how to get to know the work of Markéta Kinterová. She often works outside galleries – in exterior which she is able to change for a moment into an artwork as hardly anobody else can. Markéta is close-knit to a photography and therefore she changes the space with the help of photographic motives’ mutations. They are often identifications between the visual aspect of public space and its representation. Her play with public space depends on our understanding and perception of common events and circumstances under which something appears or disappears. She offers the participants of her temporary changes a very urgent political matters although she focuses on seemingly apolitical and unimportant attributes of everyday life. She is predominantly fascinated by ordinary, invisible and overlooked things. She doesn’t try to change their stauts but to simply present and show them by way of an almost intimate touch, philosophical commentary, a personal message or a mere and concentrated perspective on the subject.

The exhibition of Markéta Kinterová in the 35m2 Gallery is directly related to her installations of photographic pictures in urban landscapes and particularly to her current Billboardbooks. She lets the billboard keep its original meaning and mythicality but she treats it as a typical feature of our society, an economic cultivator of the masses’ perceptiveness and an omnipresent non stop projection of everything the society “would like to/should be”. Such majestic symbol personified by a picture which is usually located in a heightened above-ground place is being examined by means of some folk creativity springing to the surface through an undercurrent. It should arouse our curiosity what is behind this mechanized picture and also a desire to clarify the perspective on the picture. The billboard medium is presented in many variations in the installation. As a direct definition of a place using the material placed on the gallery floor, as a romanticized memory of its innocent stage in the form of a transparent construction or as a weakened part which disappears due to a mere smoke.

The crucial subject of the installation is a book which could be physically seen only at the exhibition opening and moreover just outside the gallery space. The exhibition visitors could have felt fooled. But what is the best way of presenting a book in a gallery? What is the intimity of an object such as a book? And what is a book in fact? Can a book exist only with its reader or can it exist separately? Can it literally browse through and read itself? Do we have to touch the book or can we just visualize it and thus perceive it without its physical presence? The book at the exhibition undergoes a double metamorphosis of an object of public nature into a personal form an back. In the video presented the book can be recognized only in its visual form where abstract areas mingle with fragments of words which don’t make any sense. It appears that the book there is a source of a quiet, omnipresent power and that’s why it can be read from any side. In a simple shot it surprisingly and by chance opens in a usual direction. Owing to the already mentioned context we could deduce that the book contents are related to the object offered in the form of a large-size advertisement. Let’s hope that the viewer won’t feel deprived if we reveal the advertised product is an umpteenth part of a Czech comedy. We, the vernissage visitors in galleries such as that one, have already heard about the film but nobody wants to see it because we would feel ashamed.

Michal Pěchouček

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