The installation from Markéta Kubačáková in the gallery Fenester is called “After Battle of Bílá Hora Cubit – four fingers, five grains and a dot” and it examines the relativity of measurement and perspective. The convention of an art work contemplation has standard parameters, which guarantee, that everyone will experience something when looking at the artworks on the wall.

Women usually look upward while tall men slouch to see the works on the wall. (A similar situation arises when a woman of an average height embraces a man of an average height: the man has his chin rested on the woman’s head and looks around while she surveys the buttons coming off his coat, or through the gap of his underarm his back. Their eyes meets only when one of them leans and the other one hunches). While the artwork requires an individual reception of the viewer, its presentation (the space for watching it) counts on a standard viewer to whom it is adjusted. These standards are anthropometric, just as the old units of measuring weight, area, length or speed used to be. People used to measure according to the habits coming out of human perception and needs in different regions. The standard could be a shoe of a ruler but also a custom of an ordinary village. In the course of centuries people grew taller and the measurements enlarged and it was specified where each measurement comes from. From the days after the Battle of white Mountain, there is the size of that time cubic officially registered in stone in the doorframe of the Old Town Hall, so that every purchaser could check he hadn’t been overcharged.

The work created for the space of a bar window counts on a fleeting glance of pedestrians into the window. Most of them don’t come to see the art, they are just passing by and looking at the walls on their way. Their sight gets into the most natural corridor – directly in front of them and a bit to the ground. The same direction is also the perspective of a passer-by, who stops for a while and looks into the window. The object is the same height as the author. Small people have their view fragmented by posts with measurements, and for tall people the installation creates empty view of the room inside. If the small people look sidelong up, they will see the bottom and the underside of the artwork, while the view from the top will reveal the “exhibits”. For some people is the view from above taken for granted, for some people it means an effort, which a child has to make, when he cannot reach a counter, where a shop assistant put his favourite ice cream. While the child is trying to find something to step on to reach the cone, the icecream to melt.

Markéta Kubačáková (1984) is a student of the 6th year of the College of Fine Arts in Brno at the studio of Video art (Martin Zet, Jiří Ptáček). She graduated at the Academy of Arts, Architecture and Design in Prague (2009) and Tomas Bata University in Zlín (2007). In her artwork she concentrates on the medium of installation and drawing. She also works as an independent curator and a critic.

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