Taking human relations and what considerations us all into consideration, Josef Čapek, a Czech painter and author, challenged the present situations and pondering of his time. Collectively along with his life and work, his youngsters’s e-book All About Doggie and Pussycat (1929) turned a supply of inspiration for the exhibition. Developed with an in-depth collaborative working course of, the exhibition brings collectively artists of varied origins, whom intertwine with the present order of issues and reply to their time in wide-ranging methods: they (de)assemble, broaden, repurpose and, thereby, depict the interior and outer world with all its complexities. Collisions and contradictions—current within the extraordinary and the widespread,1 give rise to myriad extraordinary concepts, experiences and reflections on our coexistence.
The chosen artists, every with their very own distinctive practices, share an involvement of mixing divergent on a regular basis issues and experiences that in any other case wouldn’t meet. Sometimes they make us marvel. There’s that hardly graspable awe of transubstantiation; “the artist borrows the fabric of the world and exchanges it for his [her] personal materials to precise his [her] personal relationship to the world.”2 Nonetheless mindless the actions and options to the assorted conditions of Doggie and Pussycat could appear to us, they make good sense on the finish. The 2 characters convey which means to the world that Josef Čapek created; for him (for the kids and for the reader) they’re the representatives of which means—the hardest materials is (human) pondering—coping with on a regular basis life by the method of concretion. 3
Čapek’s lifestyle (his overwhelming eagerness and a focus to it, palpable by his distinctive artistic-literary fashion of precision and ease, unbroken and ravenous to the top) and his worldview, which refers back to the elementary values of human existence and the understanding of artwork as a medium able to reflecting on issues which are basic when the bounds of language are reached, impressed the exhibition idea.
Whereas dichotomies, launched on this 12 months´s curated by Competition theme, appear to be an outdated mannequin for serious about the now (to exist inside a binary system, one should assume that we’re immutable and that the way in which we learn the world is predetermined, relatively than for us to outline and select for ourselves), additionally they affirm our paradoxical urgency for a fundamental understanding of the world by storytelling. To simplify and mediate with a view to perceive and comprehend the world is a human want, intently linked to the bounds of the (human) physique. With this in thoughts, David Fesl conceived the exhibition design based mostly on the present pure lighting situations within the constructing. The works within the exhibition are positioned in response to the next pure logic: “In vivid locations, one encounters essentially the most artistic endeavors, at the hours of darkness ones the least. The place daylight doesn’t attain, nothing stands.” The technique of discount and most focus guides the viewers by the area, demanding their consideration and welcoming them to get nearer to the artworks. Rising or fading, held in suspense, the thresholds of the exhibition are the transitions (from mild to darkness or from darkness to mild), the place unification or division naturally occurs. Within the absence of synthetic lighting, the exhibition “I Had a Canine and a Cat” turns into a singular phenomenological expertise.
at Georg Kargl High quality Arts, Vienna
till October 15, 2022