Radovan Čerevka (1980) had his solo exhibition in Košice 3 years ago where he exhibited a project Reutersdráma in the Museum of Vojtěch Löffler.  The present exhibition, called Home Woodoo Crisis, has some common starting points with the previous one. The exhibition is a reflection of his continuing interest in the issue of vicariousness of a media information and he works again with three-dimensional models created on the basis of agency news. But he doesn’t concentrate just on hyperbolization of the news alone and doesn’t present it as  solitary works, but he creates the environment of an ordinary European flat. He gets even closer to his goal – to connect our homes with tragic events taking place far away, somewhere in the third world. Čerevka presents and often „passes“ information about natural disasters or war conflicts, he points out their poor information ability towards today’s society benumbed by information overpressure. The artist creates a metaphorical relation between our small home catastrophes, such as an overflowed bath, a boiled over soup or a broken washing machine, and the global natural disasters. He demonstrates the process in a way how these tragic events are relativized by media, which can in a short time switch fluently from the microworld of our living rooms to the macroworlds of global threats. That is why the absurdity of a relation between the bath and Tsunami is just seeming – we live in a fragile world where everything is related. The most narrative installation is a living room with a model of a cut of the mythy Afghan fortress Tora Bora, where the authentic carpets don’t evoke just a living space, but they become a metaphors of Afghan mountains, where the Taliban warriors are hiding. Čerevka retightens there speculative models of media analysts into monumental dimensions, he points out the contrast of a cold technical model and reality, whose reflection are numbers of dead soldiers and civilians. It is necessary to mention, that these works are first of all about medias and their inability to provide us with true and undistorted information. Čerevka doesn’t agitate or foist his political attitude on us, he doesn’t even try to look for the „real truth“. As a proof there are manipulated photographs, which create a sort of „decoration“ of an imaginary flat in its transitional part. It refers to another contrast of the media world, where a perfectly dressed newsreader in an aesthetically sterile space of the studio intermediates tragical and often drastic news.Čerevka tries to „draw“ these news into the studio and to confront straight these both distinct worlds.

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