FOTOGRAF GALLERY, PRAGUE (CZ)
The raw-series, Club of Opportunities, has entered its schizophrenic phase. While hope springs in thin, wind-blown layers of sand in a parallel episode “April Showers Bring May Flowers” shown at Prague’s GAMU (The Gallery of the Academy of Performing Arts), at “My Name is Red Herring” root vegetables withdraw themselves deep down into the native underground, so that a vision of political goals and tactics can sprout from the gooey, blind darkness. Glimmers of hope therein are substituted with a promise of power; however, the condition for its fulfilment is of course acceptance of unscrupulous argumentative methods.
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By taking on the attribute of series story-telling, Jansa sets a trap (for himself?) in the form of unexpected continuity and internal consistency. Similar to this, there’s the emphasis on a (neo- or quasi-) mythological aspect of the written characters and their storylines. His allusion to the temple narthex with minimalist furniture that reminds one of store shelves, but which also breathes a rhythm of colored lights, intensifies an atmosphere that approximates a business-spiritual transaction, in which devilish demand accommodates a supply of skills that allow us to live through at least a small portion of life without a feeling of humiliation. But what if this is all just a clown-show. The series is a series only thanks to the transplanting of plants which, of course, have the gift of being able to take root in any conditions. Myth is an optional game whose rules can be changed as the moment requires. Skills are just crutches for all the legless and armless who cannot submit an alternative to force-based solutions to “social issues.” Movement in ambivalent escapism and untrustworthiness is, however, grounds for asking who exactly is Red Herring?
