Teleidoscope

• The exhibition "Teleidoscope" originated00:00:06.744
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• in collaboration with the Czech curator00:00:09.491
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• Markéta Stará and we decided to base00:00:11.311
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• the concept of the exhibition on the00:00:14.586
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• unfinished series of my works where00:00:16.839
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• I deal with interpretations00:00:19.910
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• of works by other authors. So that would00:00:21.719
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• be the main idea. Because of this,00:00:24.104
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• Markéta invited Jiří Thýn00:00:26.840
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• to join this project. He is here00:00:28.626
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• represented by one work, which is00:00:30.508
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• a drawing by light, it is00:00:32.272
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• a reappropration of a work by Tomáš Vaněk00:00:33.740
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• "Particip no. 69". And this decision00:00:37.516
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• was made because there is a sense of00:00:43.152
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• an intimate connection between his way00:00:46.345
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• of working and mine.00:00:48.727
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• Among my works that are00:00:50.522
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• re-interpretations of appropriation00:00:52.970
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• we included works that do not00:00:55.225
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• relate to already existing works but00:00:57.628
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• to found objects like photographs00:01:03.525
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• or situations that take place in reality00:01:06.439
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• and that these objects somehow modify00:01:12.016
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• or make these situations abstract.00:01:16.279
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• "Teleidoscope" was, in the first place,00:01:17.821
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• meant to be a metaphor of a modification00:01:22.097
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• of reality and its shift00:01:26.527
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• but at the same time I think that00:01:29.935
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• important is the moment00:01:31.690
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• when the spectator00:01:33.022
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• takes an intimate perspective -00:01:35.541
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• when you look into a teleideoscope,00:01:37.358
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• it is only you who's looking00:01:38.574
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• and this is present for example00:01:42.076
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• in the work where I deal with a drawing00:01:44.738
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• by Robert Indiana "Love" where00:01:47.507
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• the spectator looks at the picture00:01:52.091
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• through me, that is, I put him in00:01:53.890
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• a certain position or the work "Dasein"00:01:57.518
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• which is a photograph where the central00:02:04.361
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• motive is a stone, white on one side,00:02:06.061
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• black on the other and it is actually00:02:09.278
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• a double photograph - in the upper00:02:12.719
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• picture it is me and the spectator watches00:02:14.535
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• me watching and then he takes my00:02:16.897
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• perspective - he sees the other side.00:02:21.664
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• But the border between black and white00:02:27.111
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• is not present, that is, the border00:02:29.814
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• between the two perspectives.00:02:26.595
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• This is a frequent principle that00:02:33.540
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• appears here.00:02:36.558
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• This photograph is called00:02:52.911
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• "Predestination" which has two00:02:54.375
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• meanings in English: it can be <i>destiny</i>00:02:57.643
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• or some kind of <i>predetermination</i> in00:03:02.598
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• a more general sense. And I found this00:03:05.672
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• photograph in a secondhand bookshop00:03:10.306
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• and there is a handwriting barely visible:00:03:13.064
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• "The bridge I go over on my way to work".00:03:16.579
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• I was intrigued by it and I started to00:03:20.370
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• think about who wrote it and00:03:22.729
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• from where and to where he went00:03:25.727
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• and that's how I got to this line that00:03:28.220
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• traverses this photograph00:03:30.745
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• which for me stands for some kind of00:03:34.482
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• impossibility to grasp the photograph00:03:40.613
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• and its past and at the same time00:03:44.159
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• I placed it on a time line.00:03:46.391
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• It is a moment taken out from00:03:52.016
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• an infinite line.00:03:56.340
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• Thank you.00:04:04.910

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