Fundaments & Sediments / The Toy Mutiny 2011
An exhibition bringing specific individual works by members of several different generations of artists. The exhibits were picked by the curator using a definite referential key: namely, an emphasis on formal economy and reduction, and on primal pictorial and threedimensional shapes – circle, square, oblong, line, axis, cube, block, sphere, horizon, etc.
Each of these FUNDAMENTS serves as the receptacle of a SEDIMENT of content, something that has got stuck therein and that has retained its relevance for information about a specific situation (in terms of space, content, relationship, meaning, etc.). Likewise within the scope of interest are intermediary forms, shapes in the process of transformation, organic forms, as well as hybrid forms.
- FUNDAMENTALS AND SEDIMENTS (The Revolt of Toys 2011)00:00:06.609
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- I chose the title "Fundamentals and Sediments"00:00:12.780
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- because in each of the 26 presented authors00:00:18.201
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- I focused on works that reflect traits00:00:24.454
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- of depersonalization or formal reduction.00:00:30.226
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- First I had to establish a historical scope.00:00:33.800
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- I wanted to include works by Vladimír Kopecký00:00:37.163
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- who is the oldest author here.00:00:41.053
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- The youngest ones were born in the 80's.00:00:43.568
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- My choices were driven00:00:46.909
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- more by the individual works,00:00:49.909
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- rather than by the desire00:00:52.909
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- to include some particular authors.00:00:55.679
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- For 6 months I flipped through portfolios,00:00:58.904
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- trying to find works00:01:02.289
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- that would fit my exhibition.00:01:04.789
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- I put together a field00:01:30.325
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- of simple forms and signs00:01:33.325
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- that I started to use as fundamentals.00:01:38.842
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- By fundamentals I mean the basic elements00:01:42.288
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- that appear in visual culture00:01:46.987
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- and carry various meanings.00:01:50.531
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- I refer to these meanings as "sediments."00:01:55.111
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- They can be manipulated and rearranged.00:01:58.736
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- I designed the exhibition00:02:41.450
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- as a single-structure field00:02:44.694
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- consisting of a flowing part00:02:47.929
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- that has a start and a finish,00:02:50.929
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- and of five thematic sections,00:02:54.379
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- dams on the river of the exhibition.00:02:57.422
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- The result is a flowing structure00:03:00.773
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- that allowed the fundamentals00:03:04.975
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- to adopt other contexts and connotations00:03:07.975
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- than they would adopt00:03:11.996
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- in an exhibition built chronologically00:03:14.496
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- or in another conventional way.00:03:17.982
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- THE REVOLT OF TOYS Directed by00:03:38.719
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- The exhibition is concluded by the projection00:04:04.514
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- of a post-war anti-fascist movie00:04:08.679
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- "The Revolt of Toys."00:04:11.502
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- It's here to counterbalance00:04:13.971
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- some of the highly formalist works00:04:16.914
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- exhibited here.00:04:20.276
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- It has a clearly expressed ideological content00:04:22.274
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- but if you put the content aside,00:04:26.617
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- you're left with the image of a toy workshop,00:04:30.165
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- with toys representing forms.00:04:34.165
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- The workshop is in danger.00:04:37.165
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- I see this as a metaphor00:04:40.338
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- changing the meaning of the exhibition.00:04:43.234
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- You'll find the movie00:04:46.572
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- at the end of the exhibition00:04:49.572
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- and after seeing it,00:04:52.601
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- you may start to understand the exhibition00:04:55.456
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- through the prism of a new sediment.00:04:59.261
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- Artists00:05:06.433
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- Music Camera, editing00:05:15.232