For Tomáš Werner is photography one of the most natural expressions besides performance, installation and video, although his thinking doesn’t refer to the contemporary photographic experience – he rather holds a dialogue with contemporary art. For all that his photographs are a survey of a photographic language, fixed genres and procedures related. In his projects he undermines the accepted constructiveness of a photograph. The exhibition in the Fiducia Gallery is just such developed dialogue with a photograph.
Many projects are an interactive game with team-mates or viewers who needn’t be fully aware of it. In the Hors Norme project he juggles in a samaritan way with bad and unusable shots. Beautiful Pictures is an interaction with minilab laboratory technicians, a play with the fixed idea of a perfectly made photograph. In Blow-up he gradually reveals variations of a single photograph. In the Landscape Spectacle video he refers to the principle of a postcard. He makes the viewers watch a panoramatic view of Grand Canyon for half an hour, a scene of which every astounded tourist takes a picture. The picture is accompanied by a sound recording of a peculiar babel of voices of people watching the monumental and untouched scenery. Between the visible and hearable there is unconnectable contrast. Referencies to the photograph are crowned by a „maximal“ project, a closing album summarizing all pictures the author has made so far and compressed into one object. With the opportunity to perceive them but without the possibility to see them.
Tomáš Pospěch
