Exhibitions

In the introduction, we already touched up on the subject of the absence of curatorial distance, which should be understood as a vital element in the exhibition.

We have to begin from somewhere, so why not from the title? Moving Image – in other words an image in motion, but also an image that elicits emotions and thus has the ability to emotionally move its spectator. While its first meaning indicates that the exhibition introduces artists whose work predominantly deals with the moving image–be it in the form of video, animation or as frequently is the case somewhere in between the two, the later rather points to an endeavor to form an opposition to the Czech post-conceptual stream that rarely transcends intellectual pleasure. The aforementioned meanings, motion and emotion, can be read according to two criteria in relation to its mode of exhibiting, simultaneously meet in one point, which however makes it impossible to retain a certain distance, whilst pointing to the standing of the curator.

The selection of artists was namely driven by their respective affiliations with the art scene in Brno. However this association may be problematic, dealing with subjects and aspects “of life in Brno”. All participating artists have studied at FaVU VUT in Brno (except Magdalena Hrubá, who has undergone an internship at FaVU VUT), although a significant number are no longer based in Brno). This exhibition comes out of the belief that although some artists from Brno have succeeded to be seen as part of the wider art scene in the Czech Republic, exemplified by Dobré Zprávy. Slabikář (Good News. Syllabary) exhibition (F. Cenek, J. Havlíček, M. Hrubá, A. Koutný, P. Strouhal, J. Žalio) at Moravian gallery (2005), followed by F.Cenek’s, J. Havlíček’s, M Hrubý’s, P. Strouhal’s, participation on the Young Artists Biennial (2005/2008) or involving the Anymade collective in this years biennial…, we lack knowledge on the whole, where work of mentioned (and unmentioned) artists associated with Brno belongs.

So far we have acknowledged two vital links that the nineteen participating artists share; a fascination with the moving image (frequently paired with an equally intense fascination with painting, drawing, photography or object and installation based work) and the subject of what it means when the artist is from/is based in Brno. The third link, which we should not omit, is a tendency to collaborate. Although a turn towards “the collective” is nothing new in contemporary discourse, it is important to emphasize (and where possible also point out in exhibitions) a wide range of modes of cooperation/collaboration, which have appeared among participating artist throughout the past ten years. On the one hand, we have two collective platforms – Fiume and Anymade; and on the other, we have a wide range of various other forms of cooperation that could be also characterized as intensive and long lasting (Ce-Ha, Ce-Hr, Ce-Ha-Hr, Ce-Ha-Hr-Ne, Ce-Ha-Ne, Ce-So, So-St, Ko-Ki-Ža, Ca-Ko-Ne-Šr-Ža, Ca-Ne-Šr, Ho-Ki, So-Vl, Ko-Ža, Šr-Va…).

This lacking curatorial distance should be understood as an aim to propose a tentative historization, aiming to summarize something that has not been completed as yet. The formal aspect of the exhibition has been constructed in order to present similarities between individual artistic strategies whilst pointing to shared sources of inspiration and points of departure; however, an essential element in the form of relations has surfaced in the background. An exhibition project that deals with such a subject can be understood as an opportunity to revise and reconfigure relations that are always threatened by reduction to a form with which curators and art historians can easily illustrate their own narratives and construct their own (moving) image.

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