Tamada´s tutorial – or a sophisticated guidebook through a false territory.
Galerie MeetFactory Prague September 6th 2012 –October 21th 2012
Exhibiting: Vajiko Chachkhiani (GE), Václav Magid (CZ), Oldřich Morys (CZ) Ana Riaboshenko (GE), Guram Tsibakhashvilli(GE), Maya Sumbadze (GE), Andro Wekua – not confirmed yet (GE)
Performance: Group Bouillon (GE) Curator: Dušan Zahoranský (SK/CZ)
Artist shown at the exhibition refers to the historical and sociopolitical circumstances they come from. Architecture and its function-dysfunction, cultural models used to maintain and operate creative forces among society and personal criteria based on our very intimate experiences meets in their objects, subtle drawings and installations.
Confronted with its utopian historical ancestors – avant-garde of early 20th century
nowadays artistic demiurges have rather honest ambition. Not to dilute art capacities – strategies in the forces of total political reformation. Neither to substitute art within community services, even though same postmodernist western artist shifted from their personal ambitions more towards socially engaged activities. They rather create critical semi-transparent images, which uncovers zones recently hidden by classical canvases and by doing so they reflect viewer as one who observes the whole scene.
Václav Magid and Maya Sumbadze are pointing at the very end of our sublime identity – the skin. Thin layer which is the other pole of an entire universe spread between our inner personal vision and broader socio-cultural environment. Formally their drawings and paintings depict fragments of bodies as molds filled with emotions, opinions and frustrations. Among other more complex text/contextual projects Václav Magid records everyday situations in drawings and written notes. Retroactively assigns reports with legend, which sometimes localize experience or vice versa – localized event is assigned with his personal remarks. Maya Sumbadze draws suggestive miniature figurative shells. Other poles of her sublime imagination are monumental yet minimal forms of utopian symmetrical architecture.
Vajiko Chachkhiani and Oldřich Morys are youngest representatives for whom spatial forms and shapes are very basic artistic dictionary. They both deconstruct and construct annoying provoking situations with a potential of collapse encapsulated in it. Chachkhiani also explores materiality of imaginary. He repeatedly intervened into 2D plane of photography with a cut out gesture which on one side undermines our confidence of an image but also points at the necessary ambivalence of picture (presence – non-presence of depicted). Oldřich Morys is a skillful improviser always ready to discover hidden dramatic potential of settled lifeless situations. By joyful interaction he turns up side out meanings and functions of well known objects. He is able to surprise viewer with refreshing viewpoints and therefore he is encouraging us to reevaluate our habits and conventions.
Ani Riaboshenko and Guram Tsibakhashvilli write their comment and categorize terms which stand as a bricks behind our factual surroundings. Worlds which we use to depict our intentions and dreams also in a way represent our emotional and moral hierarchies. Both artists further organize into a new schemes and systems. They do mix distinctive well known truths with very personal visions and reasoning’s. Reorganization of a language is – formulation of a kind of new grammar is their actual artistic approach towards photography and installation.
Group Bouillon performs hybrid sportive-religious group acts. Physical bodily achievements are mixed with sacrifice and create new and massively accepted form of fetishism. Cult of a young and healthy body pushes out old icons and but because of its alliance with consumption cult, all warned out values such as senescence or wisdom are condemned to oblivion. Spectacularization of banal daily routines definitely weakens our critical awareness toward consumerist way of live.