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Klára Hartlová a Alexandra Grüner: Vestigial - Vernisáž
Klára Hartlová and Alexandra Grüner: Vestiigial - Opening
Event by: Hidden gallery
Location: Nádraží Praha - Holešovice, Partyzánská 1546/26, Praha 7
Exhibitions
About event
🎭 Klára Hartlová and Alexandra Grüner: Vestigial The remains that were previously functional, but lost their original meaning with time. These can be stunted organs such as the appendix, skeletal residues in the tail of some fish or no longer effective hair in humans. As vestigals, Hartlová and Grüner conceive objects that have lost its use for their primary purpose and thus become the symbols of Vanitas.
Plush tortured on a neon cross, flowers of hair or baby stroller filled with clay - we are witnessing a sad show of all the volatile, rotten and shabby, as if we were reading verses of the decadent poet, Jiří Karásek of Lvovice: "Faded wallpapers. He switches in the dark home of the ancient houses likes to mold always smelling of their lap. ” (B. "Old houses") The feast does not give us feelings of nausea and the ubiquitous disintegration and the scorch seemed to arise again from Karásek's darkened poetry: "And the smell of rot is felt everywhere, / his poisons decomposition for everything." (b. "Decomposition"). The room forms a metaphor of the Dreaming Soul, where individual objects represent hidden desires, uncovered fears and dawn splinters. Pathological states alternate panic attacks, while the mind is presented as a uterus and a scaffold of ideas. Like the syntagma (ie compositional pairs) in linguistics, Hartlová and Grüner are artistically attached to each other by syntactic addiction, one creatively develops the works of the other and Vice Versa. Where Carl Rogers speaks of "good life", Hartl and Grüner call for "good end". At the same time, however, this American psychologist is ideally based, especially in the case of his "phenomenon field", where he tries to exhume the displaced depressive feelings through their representation into a work of art (ie art materialization “Self”). Self -action through art is then accepted by their own self, which Rogers referred to the term “congruence”. The message of the exhibition is not to be afraid to enter the deepest hell of your own soul, however dark and morbid to be. The English "lake poet" William Wordsworth said that "Fear has a hundred eyes and all are to abuse the pounding heart.” However, none of the authors hesitate to look proudly into each of them… "Come, sweet death, come, blissful rest!" (Johann Sebastian Bach, BWV 478)
Plush tortured on a neon cross, flowers of hair or baby stroller filled with clay - we are witnessing a sad show of all the volatile, rotten and shabby, as if we were reading verses of the decadent poet, Jiří Karásek of Lvovice: "Faded wallpapers. He switches in the dark home of the ancient houses likes to mold always smelling of their lap. ” (B. "Old houses") The feast does not give us feelings of nausea and the ubiquitous disintegration and the scorch seemed to arise again from Karásek's darkened poetry: "And the smell of rot is felt everywhere, / his poisons decomposition for everything." (b. "Decomposition"). The room forms a metaphor of the Dreaming Soul, where individual objects represent hidden desires, uncovered fears and dawn splinters. Pathological states alternate panic attacks, while the mind is presented as a uterus and a scaffold of ideas. Like the syntagma (ie compositional pairs) in linguistics, Hartlová and Grüner are artistically attached to each other by syntactic addiction, one creatively develops the works of the other and Vice Versa. Where Carl Rogers speaks of "good life", Hartl and Grüner call for "good end". At the same time, however, this American psychologist is ideally based, especially in the case of his "phenomenon field", where he tries to exhume the displaced depressive feelings through their representation into a work of art (ie art materialization “Self”). Self -action through art is then accepted by their own self, which Rogers referred to the term “congruence”. The message of the exhibition is not to be afraid to enter the deepest hell of your own soul, however dark and morbid to be. The English "lake poet" William Wordsworth said that "Fear has a hundred eyes and all are to abuse the pounding heart.” However, none of the authors hesitate to look proudly into each of them… "Come, sweet death, come, blissful rest!" (Johann Sebastian Bach, BWV 478)