PLATO’S T HIRD EYE
11. 9. – 26. 10. 2014
MEETFACTORY GALLERY
I live with people I am surrounded
by, among things I own, in places I get acquainted with, in a reality that I
construct, and which at times slips out of my hands. What would have to happen
for my personal house of cards, including all principles and relationships
between its individual parts, to collapse and be built again from different
elements, in order for my view of the world to turn inside out? Plato rather
drastically visualized such a situation by the image of prisoners, tied by
their necks and legs, with their backs toward the entrance of a cave. As they
had been positioned this way since they were born (in the name of philosophy, let’s
leave their physical needs out of our consideration), the prisoners naturally
took what they saw in front of them to be real. Their view was actually of the rear
side of the cave, which was conceived as a kind of archaic projection screen
where a shadow theater took place for these special viewers. The cave of
illusion was cunningly conceived by projections created with the help of light
from a fire pit and a wall, behind which figures carrying puppets were hiding. As
the prisoners/viewers were, despite their unenviable situation, beings with
human nature, they entertained themselves by giving names to what they saw
happening. They involved themselves in categorizing, predicting, and arguing about
both what they saw and the importance of their relationships to it, and the
like. Of course, one day a plot outside the framework of the shadow theater inevitably
presented itself; one of the viewers was released from his shackles. Whilst
getting out of the cave, he was almost blinded, and deeply perplexed. What he
saw seemed much greater an illusion compared to the familiar shadow show. However,
little by little, his eyes got used to comprehending the new realities and this
viewer understood that just an incomplete, and moreover, mediated section of
reality was being presented to him before. Upon returning to the cave, his eyes
could hardly recognize the shadows on the stage. He was no longer able to
maintain the pace with the games of his former fellows who, quite naturally,
had a good laugh over him, and were certainly not inclined to hear about yet
another reality. To them he was a freak who moreover lost his good eyesight. Could
they have ridden themselves of their shackles, they probably would have killed
him for his delusions.
There are countless interpretations and adaptations of
Plato’s Cave parable, across all disciplines, from philosophy to the theories
of perception. It’s clear that Plato did not really have the physical situation
in mind in the cave, but rather used it as a metaphor to boost his theory of
ideas as perfect prototypes of the imperfect reality we live in. Whether these
ideas are just a remarkable capacity of the human brain to consider an ideal
situation unencumbered with the imperfections of the material world, or a real
vision of a next universe, God, or another form of transcendentalism, has
occupied philosophers, men of letters, scientists and artists for twenty-four
centuries, which has practically pushed this debate into the infinite realm. The
interpretation that caught my attention as a possible key to the present
exhibition comes from a Harvard specialist in cognitive and neurological
systems on one hand, and an author of an esoteric bestseller on the other: the
cave can be the human skull, within which construction of the surrounding world
is taking place. While a scientist quite naturally maintains that we cannot
escape from this cave and that the real world around us can be apprehended only
through the shadows in our head, the esoteric mind sees the way out of this
cave in the so called “third eye”, which is considered, mainly by the Eastern
tradition, to be the mystical gate to extra-sensual perception. The recipes of how
to open the third eye have lately flooded popular websites of global reach,
offering a medley of instant spirituality, online tarot, mind reading etc. What
seems to be the exit from the cave for an artist? Perhaps his or her freedom to
loosely combine fragments of their so-called reality with their own imagination
and interpretation related to any space-time levels. The artist’s only
responsibilities being to finally “bring to light” (what a fitting metaphor) the
result and confront it, in most cases, with an autonomous world of another
human being – the viewer. However, it remains uncertain whether the image of some
external entity commonly called “the work” would coincide with the one
constructed in the viewer’s head, or whether the latter will be completely
different.
The exhibition at MeetFactory is a constellation of
works by nine artists who freely and yet consistently reinterpret both the
existent reality around them and their personal or collective past and
phenomena that, in relation to the above, may seem quite supernatural or at
least hard to explain. In the beginning of the exposition, Sinta Werner presents her material version of the “Circular Marquee
Tool” in Photoshop. While it is just a matter of a few clicks and certain
prowess of handling the computer to pick any part of an image and manipulate it
in an arbitrary way, an effort to construct a similar illusion in the material setting
of the gallery space is incredibly demanding, if not almost impossible. The
communication between the artist and the viewer is in this case a game of
perception par excellence, as the illusion works from only a single viewpoint.
Along with the viewer strolling through the gallery space, the perfect
depiction of a half-transparent, rotated section of a column falls apart and we
disclose how the installation was made, which is as important as the functioning
of the delusion itself. Compared to the abstracted piece of Werner, which plays
along with perspective and geometry, the large-scale statue by Matyáš Chochola is a figurative blow, the
embodiment of a mysterious transformation of an ancient head archetype in the
course of already mentioned centuries, and its current picture in the cranial
landscape of this artist with whom you are never sure if he serious or if it is
a complete parody. The statue’s shape remotely reminds us of a harp, one of the
most harmonious musical instruments. It was the concept of the human soul as a
harmony that Plato (through the mouth of Socrates) smashed to smithereens in
one of his dialogues, as harmony depends on the presence of physical body (the
instrument), whereas the soul must be immortal – similar to the statue which
probably sees itself with its one and only eye already in another world, or at
least in the sphere of the immortal story of art. Transcendentalism or
esotericism as a violent element is reflected in the project of Pavel Sterec, which is inspired by a
situation created in the “Taboo” program on the Nova TV channel. The invited
guests talking about socially delicate issues were hidden before the viewers in
a special booth from where they could answer the moderator’s questions. Sterec used
a similar situation in which he places a fictitious female character giving an
account of being raped, while the rapist is not a human but a ray of light. The
project thus embodies a moment of involuntariness, which often accompanies the collision
of humans with leading or currently popular ideological concepts, be it a
complete religious system or trivialized scraps of universal wisdom attacking
us from the computer or TV screen, or bookstore counters, wherefrom colorful
book spines convince us with their manifestos to change our lives, rid us from
depression, teach us how to read cards, maybe even how to levitate, and, of
course, clean both our body and soul from all toxic deposits.
The work of Jaro
Varga is also a manipulation, but rather than concepts like coercion or
violence, he opens the question of alternative approaches to history and the
freedom of an artist to independently handle both its material and spiritual
remains. Already in one of his earlier implementations, Varga dealt with the
derelict military zone of Milovice, situated north of Prague, where four armies
took turns during the last century: Austrian-Hungarian, Czechoslovak, German and
Soviet. The artist proposed a project for the MeetFactory in which he
intuitively and rather surrealistically complements parts of objects found in
those locations, putting them in a new context. He constructs a novel vision of
an ephemeral future for these relics, somewhat charged with force or even
sexual connotations. Alexandr Puškin
structures crushed gray rubble he obtained from drilling a well, enclosing it
in an installation reminiscent of a cold museum showcase. A special material,
which, despite its original deposit about fifty meters below the surface, is
suggestive of a moon landscape, is lit with daylight simulating spotlights. However,
false daylight seems rather inappropriate in the otherwise yellowish gallery
lighting. It further underpins the artificial character of the showcase, which
neatly stratifies, enhances in meaning and at the same time flattens the material
of an ambiguous purpose. Iris Touliatou
deals with methods of display and exhibition, memory of objects and situations.
Her piece resembles a remnant of sets for an epic theater, which functioned
with the principle of incessantly reminding the viewers that they are being
confronted with an illusion and not real events they could otherwise identify
with thanks to authentic actors’ performance and stage design. Touliatou composes
her “theater” from installation materials of past exhibitions, the archive of
her own works and abstracted personal objects, investigating their aura and status
on the boundary between real existence and non-being.
Annika Rixen’s projection refers to Virginia Woolf’s
short story called “Solid Objects”. Its hero, a politician with a potentially promising
career, becomes addicted to the strange magic of glass fragments he finds in
the city. In the quest to discover their essence, he gradually abandons his
“rational” life. Is it a downfall into the realm of shadows, or does his path,
quite on the contrary, embody an effort to catch the more ephemeral, hard to define
straws of reality, which in the landscape of imagination may take on much more
solid contours than mundane human goals? Kirstine
Roepstorff’s large-scale installation extends within the imaginative realm,
evoking childhood memories. With the help of a fascinating shadow show, Roepstorff
evokes a view from the window of a spacy flat where a mother has covered the
tables with lace tablecloths, to the “big” outside world. For the time being, it
can be grasped without the help of concepts, looked upon with eyes wide open,
perceiving the city architecture like a picturesque stage set fit for the
production of any story, scene or act. The exhibition is symbolically concluded
by the work of Roman Štětina. With
both its aesthetics and content, it takes us back to the allegory of the cave. The
artist carried out a reconstruction of an unpreserved monumental curtain, which
had been part of the so-called “stereo auditorium” in the Czechoslovak Radio Building
in Pilsen from the mid-nineteen-sixties to the nineteen-eighties. The abstract
geometric print on the curtain had been the main visual stimulus for the
listeners when approving radio dramas or testing new sound equipment. The
spatial constellation resembles the situation of prisoners interpreting a
shadow performance, which was also endowed with sound in Plato’s conception. Here,
however, the cave versus the surrounding reality becomes rather a relationship
between reality and art, or a tension between pure aesthetics and seeing into
other spheres of visual and intellectual imagination. Art then, in the sense of
an attempt to leave the cave, need not be mainly about looking at
transcendental worlds but rather about not simply moving within the strictly
defined boundaries of our own anatomy, trying to use less common methods of
communication and freely reconstructing chosen contents, not as a dogma, but as
a vision.
Karina Pfeiffer Kottová