BETWEEN
the WALLS
4.12.2014 –
8.2.2015
MEETFACTORY GALLERY
Walls are the determinants of spatial relationships,
defining space and providing it with structure. A wall lays down frontiers,
divides the out from the within. It determines the possibilities of what can
happen behind it, in front of it or around it. It gives rise to something,
letting other things go. A wall does not just divide two spaces, but
constitutes their connection at the same time, being a common point where the
two spaces meet. A wall disturbs and changes the space it enters and builds a
new one. However, it never stands for itself: what a wall is, that is given by
its relationships within its neighborhood. It defines the character of those
who have something to do with it, as well as those relating to the wall define
its meaning and character. The context of a wall keeps changing, the same as
the wall itself keeps altering the surrounding contexts by its mere existence.
Yet it’s always been specific moments and specific contexts the wall brings to
life. How to ponder the wall, how to relate to it, how to experience it?
The Between the Walls exhibition
at MeetFactory Gallery tries to capture, in the works of four contemporary
artists, four specific interpretations of the wall. In his work, Czech artist Martin Dašek continues to question the
physical possibilities of space, both in the gallery milieu and in the public
space. His enormous installation Mark VI can even be felt as a violent step
into the viewers’ comfort zone. It disturbs and limits one’s possibilities to
move, authoritatively setting the way of the viewers’ gait, the bend of their
bodies or their ways of maintaining balance. The slanted and deformed arch,
however, despite its stability and passability, creates the impression of a
massive barrier when viewed from another angle.
The spatial object by American
artist of Korean descent Hong Seon Jang
is a comment on the transition between the familiar environment of one’s home
and certain separation from it. Home furniture covered with a one-color carpet
creates a unified monument in space. Familiar shapes of tables and cabinets are
subdued under the accumulated collage of upholstery, which – on the one hand –
evokes the relationship of an individual to everyday objects, but also certain
tension between the individual – single pieces of furniture – and collective
memory – the monument.
British artist Terry Smith planted his work directly
in one of the gallery’s walls, as the continuation of his long-term series of
wall cuts. A simple silhouette of a door uses the visuality of the wall itself
and refers to the process of its origin, both by the trial cuts in the
neighboring wall and by preserving the fallen plaster. The unmasked masonry
layers point at a reverse function of the wall; in everyday functioning,
we primarily relate, in an utilitarian or aesthetic way, to the doors, a
passage from one place to another, inclined not to notice the walls in which
the doors are set.
The triptych of Korean artist Deok Yeoung Gim introducesthe overlap with virtual reality, but
also with the TV-mediated violence. The
first room is the simulation ofa
virtual arena and laser points sent out in the surrounding space entangle the
viewer in the violence game. This is frozen later at the exit into the next
room. The monumental object is a kind of a paraphrase of cruelty put to a halt,
a warfare stop-time. The triplet is completed with a video that interconnects
both previous rooms in a sort of grotesque manner.
----
In 1802, the third US President
Thomas Jefferson answered the letter of the Baptist Association in Danbury,
which was full of worries that religious freedoms might be lost in the newly
established legal system of the state. The nervousness of the alarmed Anabaptist
minority was obvious. After a couple of months of thought, the President answered
the Baptists by referring to the first Amendment of the Constitution, on the
freedom of religious denomination, and adding that religion is a private affair
between the individual believer and his or her God, and that it is necessary to
“erect a wall between the church and the state”. The vigor of thus formulated
dividing line between two fundamental elements of social and political life of
the period led to one of the most frequently interpreted legislative
formulations in modern history. Yet just a few months before Jefferson was
elected President, the Congregationalist families in New England, in an
uncomfortable foreboding of an iconoclasm that might spring from the
President’s election campaign, were hiding the Holy Scripture in wells or
burying it in the ground. Just in case the Washington Administration would
decide to destroy it.
Zuzana Jakalová