CENTER FOR CONTEMPORARY ART FUTURA, PRAGUE (CZ)
27. 9. – 26. 11. 2017
Opening 26. 9. 18:00
Center for Contemporary Art FUTURA, Holečkova 49, Praha 5
Programmed by the Jindřich Chalupecký Society
Curated by Karina Kottová and Fatoş Üstek
Artists: Alžběta Bačíková & Martina Smutná, Darren Bader, Filip Dvořák, Barbora Fastrová & Johana Pošová, Anežka Hošková, Antonín Jirát, Tomáš Kajánek, Václav Kopecký, Břetislav Malý, Anna Ročňová, Tomáš Roubal, Egill Sæbjörnsson, Carey Young, Jakub Tajovský, Monika Žáková, Aleš Zapletal
The exhibition starts with a conventional White Cube style display of works that are placed in differing vicinities to one another, connected by an overlying thread set forward by Carey Young. Young’s textual piece Positive Buzz (2001) is placed on a singular wall and across the exhibition space, initiating conversational relationships. The sculptural installation informed by works of Anna Ročňová, Antonín Jirát, Břetislav Malý, Monika Žáková and Václav Kopecký is further complemented by singular statements of Positive Buzz, where Young worked with the published advice of London-based business consultants, who suggest to use such phrases to generate new ideas in corporate brainstorming sessions. The dialogue that emerges between these statements and the other artworks on display then posits towards the fluctuating situations of judgment, objectification, encouragement and humorous encounter, adding on another semantic layer to the composite.
The second phase of the exhibition
ripples around Darren Bader’s animated video The Vagrant (2015) which fables a situation of the last general assembly of the United
Nations. While the UN proves as no longer effective means of governance, it
comes to an end with a last project in mind, to be selected from proposals
received from all member countries. Republic of Chile wins the lottery with a
proposition suggesting a global competition for sculptures to be sent to outer
space. It quickly gains tremendous popularity and anxious objects begin to
enter the universe in a centuries-long quest. The work is not only an ironic
commentary on the international mechanisms of the art world, but also overlaps
with the challenges and miseries of the present moment in general, marked by
both skepticism and remaining hope to overcome the environmental, political and
humanitarian apocalypses that are knocking at the door. Entering a dialogue
with Bader's cosmic adventures, works by Anežka Hošková and Jakub Tajovský
propose physical and symbolic reinterpretations of ritualistic attributes,
questioning their present social relevance within the boundaries of their
institutional display. Barbora Fastrová and Johana Pošová contribute to the
narrative with what might be a post-apocalyptic memorial for natural wonders.
The video installation by Alžběta Bačíková and Martina Smutná expands the
approach towards institutional critique, where the context of a museum in a
process of being cleared out for reconstruction transforms the value and
purpose of artifacts.
Egill Sæbjörnsson’s piece The Egg or the Hen, Us or Them (2011) charges the exhibition with a different density. In a slightly surreal ontology, animated stones engage in conversations about their personal value and stances as well as their possible perception by their respective observers. Sæbjörnsson pronounces the undercurrents of relationships with the self and others, whether those refer to an object or a person. Such notions are expanded by the works of Aleš Zapletal, Filip Dvořák, Tomáš Kajánek and Tomáš Roubal. The playful attitude of all the works in this phase of the exhibition not only looks at the self and the relationship with the surrounding environment, but also provides a mirroring through representation, imagination and romanticisation of the artistic gesture as a defining component of the creative act.
Ripple Effect is a conglomeration of forces that are inherent in the processes of creativity and artistic endeavor; through looking at and bringing forward the current concerns that not only concentrate on the ontology of the artist, but also the spectrum of relationships that play a crucial role in the processes of artistic production. Ripple Effect, hence, is a portrayal of semantic links that are at play, and a subjective study of the young Czech scene whilst drawing in inspirations and influences from an international discursive context.