The real name

• According to the important French philosopher00:00:03.411
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• of postmodernity J.-F. Lyotard (1924-98),00:00:05.847
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• one of the fundamental features00:00:09.322
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• of modern art is a disclosure of00:00:10.525
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• principles of art as such, i.e.,00:00:12.342
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• a disclosure of principles of language00:00:15.401
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• through which art expresses itself.00:00:17.976
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• This takes place in an experiment00:00:20.507
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• which constitutes, according to Lyotard,00:00:22.794
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• another basic feature of modern art.00:00:24.276
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• By means of the disclosure of the principles00:00:27.724
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• of its own language, modern art00:00:30.182
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• allegedly dissolves the very essence00:00:32.328
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• of art as such.00:00:34.326
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• Art reveals this essence to the spectator00:00:35.835
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• in its fundamental aspects.00:00:38.183
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• What modern art after all discloses00:00:41.609
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• through this strategy is vision itself00:00:43.587
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• and the usually not visible00:00:46.926
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• (not object-like) conditions00:00:49.300
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• that make possible vision as such.00:00:51.584
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• Lyotard's famous analyses take place00:00:54.730
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• within the context of00:00:57.211
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• the interwar avant-gardes that00:00:57.542
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• gave birth to movements such as00:00:59.409
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• minimalism, abstractionism, conceptualism.00:01:01.512
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• A kind of a synthetic and unique form00:01:05.626
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• of actualisation of these movements00:01:08.432
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• can be also perceived in the work of00:01:11.105
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• the artist Jan Haubelt.00:01:12.707
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• The classical representative (mimetic)00:01:14.539
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• art, primarily understood00:01:16.710
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• as a window through which one can00:01:18.584
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• enter the world represented,00:01:20.004
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• is basically seen by Lyotard as well as00:01:22.707
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• T.W. Adorno (1903-69) as00:01:23.763
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• an "ideological" art: such art00:01:26.564
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• depicts "only" the ancient or00:01:29.935
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• Christian myth, the order00:01:31.531
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• of the human world.00:01:33.991
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• Modern art, within the frame of which00:01:36.006
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• Haubelt's work is also found,00:01:38.400
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• is however quite distrustful00:01:40.783
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• towards reality itself and that is why00:01:42.377
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• it does not represent it;00:01:44.941
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• it rather examines it.00:01:45.693
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• I leave it to you to consider00:01:47.619
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• whether another aspect could also be00:01:49.605
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• applied to Jan Haubelt's work,00:01:50.800
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• an aspect that Lyotard thought00:01:52.332
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• characteristic of modern art.00:01:53.656
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• Modern art supposedly brings00:01:55.615
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• into play intellectual elements00:01:57.769
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• that cannot be perceived through senses00:02:00.006
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• but which, under certain conditions00:02:04.297
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• (of knowledge of the history of art)00:02:06.895
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• form a part of the aesthetic00:02:08.977
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• experience and cognitive gain.00:02:11.405
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• Modern art is art that is intellectual00:02:13.791
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• and sublime for in the spectator's00:02:17.108
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• imagination it launches an infinite,00:02:19.589
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• and therefore inherently ungraspable,00:02:21.979
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• disturbing if not unpleasant00:02:24.558
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• production of sensations -00:02:27.179
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• like the gigantic rock massives00:02:29.020
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• of big mountains.00:02:31.044
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• "WORDS, THINGS, IMAGES"00:02:35.490
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• Jan Haubelt: By the Right Name00:02:39.118
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• The exhibition is made up of00:02:59.145
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• individual objects which -00:03:01.074
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• with consistent descriptiveness -00:03:02.965
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• comment on themselves00:03:06.161
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• either by their look or00:03:07.699
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• the form of their presentation00:03:10.129
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• or their title. This piece, for example,00:03:13.280
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• is called 1/2 Cubic of Wood00:03:17.088
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• and it is simply a block of wood00:03:19.224
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• out of a single piece, a single stuff.00:03:23.245
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• It refers to how under 1/2 cubic of wood00:03:28.678
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• we understand a certain volume of00:03:34.108
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• material and this is a consistent00:03:36.492
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• visualization of the word and00:03:43.565
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• how it could be understood00:03:47.579
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• by a precise interpretation.00:03:49.464
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• The piece can stand on its own,00:04:05.168
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• as an object or a sculpture which can00:04:08.231
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• be moved anywhere or be anywhere.00:04:11.085
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• This piece is an improvised sculpture00:04:24.683
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• that was made quite simply:00:04:28.102
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• the chair was dressed.00:04:33.132
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• It's title is "Sitting Chair".00:04:36.092
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• I see it as a simple commentary on00:04:39.873
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• the function of the object. Interesting00:04:45.097
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• for me is its sculptural value - that00:04:51.108
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• the piece recalls a figure and - it also00:04:54.143
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• comments on itself through its function.00:04:57.546
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• This piece here is named "Picture in a Book,"00:05:23.904
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• it is a found object from a flea market,00:05:27.538
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• so it is used here as a ready-made and00:05:32.171
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• I'm interested in it or fascinated by it00:05:35.030
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• because usually in a book there are00:05:39.431
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• pictures, illustrations - a common thing00:05:42.493
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• - or reproductions - but with this object00:05:45.808
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• the author used the book just as a canvas.00:05:49.263
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• He opened the book and left it so00:05:52.588
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• and painted a picture into the book00:05:54.568
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• without any connection00:05:57.099
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• to the book - he used it00:06:02.245
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• only as a background.00:06:02.789
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• This piece is called00:06:16.453
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• "Seam Side and Seam-Free Side."00:06:18.403
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• It is a documentation, photographs of00:06:19.769
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• a seam side and a seam-free side of a towel.00:06:25.990
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• In terms of form, it is interesting that00:06:30.133
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• that colors are inverted on each side00:06:35.806
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• and the towel is photographed00:06:40.671
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• on a white background and then on black.00:06:44.161
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• The background is also inverted which00:06:48.144
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• corresponds to the change of colors00:06:54.724
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• on the seem-free side and the seam side00:06:59.977
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• of the towel.00:07:01.021
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• It's important that it's enlarged to 1:100:07:02.504
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• used also as a ready-made.00:07:05.414
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• Is the towel your own?00:07:10.502
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• Yes, that's my towel.00:07:12.153
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• This piece here... I work with a mirror,00:07:24.157
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• I am interested in a mirror because00:07:29.700
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• it is a reflection of reality00:07:34.188
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• that is interesting00:07:36.231
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• because it is reversed.00:07:38.357
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• In the mirror, we see reality not00:07:40.046
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• as it is but reversed.00:07:42.939
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• I was looking for a way how to make00:07:46.968
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• a mirror which would reflect reality00:07:51.470
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• how we see it. Eventually,00:07:53.739
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• it was easier than it would seem.00:07:59.172
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• This thing here is the result.00:08:01.658
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• When we fix two mirrors00:08:06.208
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• into the right angle,00:08:09.155
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• each reflects itself,00:08:10.759
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• one reflects the other00:08:13.060
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• so that it reverses the image.00:08:14.720
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• The spectator in this mirror can00:08:17.444
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• see his image as it is seen by others.00:08:22.446
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• In the context of the other objects,00:08:27.719
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• it is again a commentary on the essence00:08:31.925
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• or the basic function of the object -00:08:34.600
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• the mirror.00:08:38.197
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• "BEAUTY=RELATIONSHIPS"00:08:42.121
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• It's about a definition of the space00:08:45.500
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• based on human criteria,00:08:50.693
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• a very concise one.00:08:56.524
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• A situation is created which00:08:59.826
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• also consists of a painting dimension -00:09:03.065
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• because, evidently, it is a still life -00:09:06.916
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• it's just not two-dimensional,00:09:09.449
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• it is an object. To what extent00:09:12.459
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• do you think these things are accessible00:09:17.171
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• to an audience not familiar with00:09:19.582
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• the whole history of modern art?00:09:21.874
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• But Honza works quite intuitively,00:09:23.624
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• he is more inspired by psychological00:09:28.266
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• phenomena and disciplines that are not00:09:31.258
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• related to art. And that's why00:09:34.203
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• I think it could be accessible even00:09:36.741
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• to people who might not know much00:09:39.146
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• about the history of art.00:09:42.511
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• This is going to be a satire, you know,00:09:47.847
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• a comedy. No, it's good!00:09:49.503
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• I don't want to generalize but00:09:55.742
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• the originally miminimalist forms00:10:00.018
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• focused on human criteria00:10:01.906
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• so that they would be accessible00:10:05.485
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• and one didn't have to00:10:07.047
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• think about them -00:10:08.195
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• getting inside immediately without00:10:09.013
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• the clues, historical filtres, visual experience.00:10:14.305
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• This is of course a concept that00:10:22.841
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• was exhausted.00:10:28.965
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• And now we remember it.00:10:30.855
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• But with the object from the wood there's00:10:33.195
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• a strategy of immediate effect00:10:39.570
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• on the spectator. He doesn't have to00:10:45.940
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• think about it.00:10:47.465

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