PAVLA SCERANKOVÁ & DUŠAN ZAHORANSKÝ / WORK ON THE FUTURE
In what way, within which conditions and relations do we lend shape to the world with what we actually do? Not only the world as we know it but also the world which we would like to share, which is worth working for. This is the “work on the future” in the title of the exhibition of Pavla Sceranková and Dušan Zahoranský who invited two guests to take part, Václav Janoščík and David Fesl. The exhibition is not a retrospective, on the contrary: it presents brand new works connected, on the one hand, with the subject of work and its sharing, and on the other with the issue of communication and its breakdown. Both work and communication are not just concepts but are materialized at the exhibition in the form of zones for work, relaxation and meetings. The exhibition is thus not only the largest one of both artists to date; it also invites the audience to a more intimate encounter with art while presenting the opportunity to enter the space of work and communication.
IGOR HOSNEDL / EMERALD SYRUP FROM THE ORCHARD OF PROMISES
According to C. G. Jung, the opposites of the persona and the ego are the inhabitants of the unconscious, aka archetypes.These are defined as the archaic relics of the psyche and as such are present from birth. The function of the archetypes is to give rise to the Self and enable it to shake the trees in the Orchard of promises, to hurt it and thus acquire metaphorical symbols of victory, like resin from a tree. Igor Hosnedl’s paintings rooted in drawing and employing the archetypes as automatic drawing exist even before the brush is dipped in paint.
ŠÁRKA KOUDELOVÁ / OUR BODIES SO SOFT, OUR LIVES SO EPIC
In ’Our Bodies So Soft, Our Lives So Epic’ Šárka Basjuk Koudelová creates an installation based on the eternal contradiction of the transient and fragile nature of our bodily presence and our desperate yet continuous attempts to achieve lasting proof of a life so grand by banning it to a precious piece of jewellery. Seductive, play- and masterful yet also uncanny at times, we are reminded of the complexity and symbolic richness these emotionally charged objects bear. A pendant passed from mother to daughter, a lover’s eye commissioned for a secret paramour, an intricate mourning ring made of a child’s hair, a simple yet unequivocally claiming wedding band – it is easy to relate one way or the other to these small scale sculptures, which are only activated by the wearing and tearing body – yet we rarely consider that these items usually profess what would be crass or tasteless for us to say and that their message is most likely to outlive wearer and purpose.