Reports

Matyáš Chochola and Ladislav Vondrák approached the exhibition like nomads of “hunters and gatherer” sort. They gathered different objects from households and various DIY material1 they started to work with and treat right on the spot: they used it partly into the sculpture and painting objects and partly as a tool to settle in, to occupy the exposition space. A palpable idea of their spontaneous (however knowledgeable) attitude is the situation of art and artists in an institutional context. They open related topics of social relations or aesthetical stereotypes of our world they test amusedly and invert variously. The viewers (and the curator) try to find their way: they take notice of familiar trendy references, well-known technological procedures, the installation concept. Those signs do not offer any linear scheme, an explicit “form” of the message. At that moment you should go back to the beginning of the journey and give up the vision of its linearity. Instead, I do recommend to visualize a (favourite) model of a net, which will allow you to accept the exhibition as an unclosed and ambiguous structure giving us the freedom of variable interpretations. We may travel around experiences of visitors of households, galleries, the readers of art history, literature etc. If we stay with the net metaphor and look for its knots we can grab, then one of the strongests mediums is a performance which is determining for an individual work of both artists. Clarifying motivations and solutions the viewers of a performance often demand provide the following statement of the authors: The project is a model structure testing different types of power identities. The gallery space is outlined as a classic intermedia exhibition with objects thematizing the identity of political and intellectual power. Individual objects, as well as the whole exhibition’s implication, will be shrouded. The primary installation is a work material ready to absorb the live event imprint and fated to a destruction during the process, conditioned by an elaborated composition of the exhibition’s resulting form. It is going to document the failure od the original intention in which the exhibition loses its identity and our approach towards it will change.
The exhibition opening the last year’s exhibition program was called Alotrium (Expended Performance) which is a classic coincidence. Together with the name of the current exhibition it creates a related intention “to put out of countenance”. Another knot of the net is a well known postmodern category of an “event” owing to its unpredictability and of course a “game” which necessarily brings about surprise and the experience astonishment. Such circumstance does not emerge just from the fact there are not represented any finished artefacts and completed projects but rather from the authors’ attitude. They a priori consider the exhibition as unclosed and even not corresponding to the original intention. Such fluidal character concerns also the attitude to the exhibition and the gallery institution which does not represent any suitable social and architectonic field for the art presentation but a variable platform which can be used for a sarcastic impression that ideal social possibilities have finally appeared.

Marika Kupková

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