Vron katalg 2013

Katalg vyiel sfinannou podporou Ministerstva kultry Slovenskej republiky

Vclav Cigler, zber do intalcie vstavyVclav Cigler, view of installation

ObsahPrhovor kurtora k ronku 2013 . . . . . . . . . . . . . . 6

03. 01. 20. 01. 2013 Otis Laubert II. Z CUDZEJ ZHRADY . . . . . . . . . 10

24. 01. 10. 02. 2013 Otis Laubert III. U MI DOLO, O MI TO DOLO . . 14

14. 02. 03. 03. 2013 Otis Laubert IV. NOV OVOCIE . . . . . . . . . . . . . . 18

07. 03. 21. 04. 2013 Vclav Cigler OPT ZDE . . . . . . . . . . . . . . . . . . . 22

09. 05. 09. 06. 2013 Viera Kraicov znma neznma . . . . . . . . . . . . . . 26

13. 06. 14. 07. 2013 Milo tofko Voyeurizmus z cyklu SIE . . . . . . . 30

22. 08. 22. 09. 2013 Igor Minrik METAMABA . . . . . . . . . . . . . . . . . 34

26. 09. 24. 11. 2013 ART BRUT NA SLOVENSKU . . . . . . . . . . . . . . . . . . 38

05. 12. 2013 26. 01. 2014 Peter Kalmus NOVE . . . . . . . . . . . . . . . . . . . . . . 42

SPRIEVODN AKCIE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

21. 02. 2013 Jozef Tancer, Neviditen mesto Preporok/Bratislava(prezentcia knihy Kornel Fldvri)

30. 05. 2013 Katarna Bajcurov aAurel Hrabuick (komentovan prehliadka vstavy Viery Kraicovej)

18. 06. 2013 Egon Gl, Peter Zajac aNorbert Lacko (diskusia kvstave Miloa tofka)

27. 06. 2013 Peter Zajac aBarbara Bodorov, Maovanie/milovanie Rozhovory sRudolfom Filom (prezentcia knihy Barbara Bodorov)

27. 08. 2013 Etienne Cornevin (projekcia)12. 09. 2013 Barok o 19-tej v Galrii 19

02. 10. 22. 11. 2013 sprievodn podujatia kvstave Art brut na Slovensku04. 11. 2013 Elena Lich-Zbransk, uba Lauffov

(prezentcia knihy Elena Lich-Zbransk, Vladimr KordoJozef Fabu aVclav Macek, hos veera Marin Varga)

12. 12. 2013 Barok o 19-tej v Galrii 19, hos veera Boidara Turzonovov

Sprievodn text k vstave Vclav Cigler OPT ZDE . . . . . . 50Sprievodn text k vstave Milo tofko VOYEURIZMUS . . 56

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EVENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

21. 02. 2013 Jozef Tancer, Invisible Town Preporok/Bratislava(book presentation Kornel Fldvri)

30. 05. 2013 Katarna Bajcurov andAurel Hrabuick (commented guide to the exhibition of Viera Kraicov)

18. 06. 2013 Egon Gl, Peter Zajac andNorbert Lacko (discussion related to the exhibition of Milo tofko)

27. 06. 2013 Peter Zajac andBarbara Bodorov, Painting/Loving Interviews with Rudolf Fila (book presentation Barbara Bodorov)

27. 08. 2013 Etienne Cornevin (movie projection)12. 09. 2013 Baroque at nineteen in Gallery 19

02. 10. 22. 11. 2013 events accompanying the Art Brut in Slovakia exhibition04. 11. 2013 Elena Lich-Zbransk, uba Lauffov (book presentation

Elena Lich-Zbransk, Vladimr Kordo, Jozef Fabu, andVclav Macek, guest of the evening: musician Marin Varga)

12. 12. 2013 Baroque at nineteen in Gallery 19, guest of the evening: actress Boidara Turzonovov.

Supplementary text to the exhibition Vclav Cigler HERE AGAIN . . . . . . . . . . . . . . . . . . . . . . . . . 54Supplementary text to the exhibition Milo tofko VOYEURISM. . . . . . . . . . . . . . . . . . . . . . . . . . 58

ContentYear 2013 Foreword by the Curator. . . . . . . . . . . . 8

03. 01. 20. 01. 2013 Otis Laubert II. FROM ASTRANGERS GARDEN . . . 12

24. 01. 10. 02. 2013 Otis Laubert III. I FOUND OUT WHAT I RECIEVED . . 16

14. 02. 03. 03. 2013 Otis Laubert IV. NEW FRUITS . . . . . . . . . . . . . . . 20

07. 03. 21. 04. 2013 Vclav Cigler HERE AGAIN . . . . . . . . . . . . . . . . . . 24

09. 05. 09. 06. 2013 Viera Kraicov known and unknown . . . . . . . . . . 28

13. 06. 14. 07. 2013 Milo tofko Voyeurism from the Cycle NET . . . . . . 32

22. 08. 22. 09. 2013 Igor Minrik META-PAINTING . . . . . . . . . . . . . . . 36

26. 09. 24. 11. 2013 ART BRUT IN SLOVAKIA . . . . . . . . . . . . . . . . . . . . . . 40

05. 12. 2013 26. 01. 2014 Peter Kalmus NOVE . . . . . . . . . . . . . . . . . . . . . . . 44

6Prhovor kurtora k ronku 2013

Galria 19 aj vtomto ronku pokraovala vkon-cepcii limitovanej snahou prezentova vizulneumenie 20. a21. storoia Slovenska, Moravyaiech, ale otvorenej o do rky spektra vtvar-nch nrov. Sria tyroch vstav Otisa Lauberta sa zaala e-te vdecembri 2012 (Zavraniny) apokraovalavstavami Zcudzej zhrady, U mi dolo, o mi todolo aNov ovocie. Vnich zo svojho depozituvyber, triedi, posva aznovu vytvra prekvapivartefakty. Vstava Vclava Ciglera Opt zde predstavila ppodstt jeho tvorby: priestor, voda, svetlo, lovek,sklo.Vekolep Ciglerovu intalciu vystriedali malkomorn slvnosti vtempere: Viera Kraicov zn-ma neznma.Milo tofko intaloval svoje obrazoobjekty safo-ristickou hrou slabikoslov. Svoju prezentciu po-menoval Voyeurizmus zcyklu Sie. Nastupuje dobrodruno-rozprvkov maba akoMetamaba. Igor Minrik vo svojich A2 form-toch m stle o maova. Vnimku zmesanho asovho limitu dostalavstava Art brut na Slovensku. Poas svojho dvoj-mesanho trvania predstavila rad zva ne-kolench vtvarnkov, ktor maj sksenos sdu-evnou poruchou. Ich spolonou vizitkou je v-tvarn kvalita vspojen soriginlnym videnmsveta. Vspoluprci sLigou za duevn zdravievydala galria obsiahly katalg kvstave. Pod nzvom Nove uzavrel rok Peter Kalmus na-liehavmi kresbami, hravmi aj mrazivmi objekt-mi azvanm posolstvom oholokauste vyjadre-nm sedemdesiattisc kamienkami pod nzvomMemento.Pri realizcii vstav oceujem ugaleristov zvld-nutie mimoriadne zloitch technickch operci,ktor umonilo kvalitne prezentova prce autorov. Rok 2013 bol bohat aj na sprievodn podujatia.Galria predstavila tri knihy: Jozef Tancer Nevidi-ten mesto Preporok/Bratislava, knihu uviedolKornel Fldvri; Peter Zajac aBarbara Bodorov

Maovanie/milovanie Rozhovory s RudolfomFilom, knihu uviedla spoluatorka;Elena Lich-Zbransk uba Lauffov, knihu uviedla autor-ka, Vladimr Kordo, Jozef Fabu aVclav Macek,hosom veera bol Marin Varga. Katarna Bajcurov, kurtorka vstavy Viery Krai-covej, spolu so svojm hosom Aurelom Hrabu-ickm priblili vspolonej diskusii autorkinutvorbu aivot. Oprcach Miloa tofka diskutovali: Egon Gl,Peter Zajac aNorbert Lacko. Franczsky teoretik umenia Etienne Cornevin saosobne zastnil na projekcii jeho dokumentovoIgorovi aEve Minrikovcoch, Milanovi aKlreBokayovcoch, Otisovi Laubertovi, Danielovi Fi-scherovi aRudolfovi Filovi. Vstavu Art brut na Slovensku sprevdzalo 19podujat, rozdelench do tyroch tematickchblokov, ktor tvorili prednky (Vladimr Kor-do, MUDr. Jn uba, Duan Ngel, Egon Gl,MUDr. Peter Kukumberg, MUDr. Peter ernk,MUDr. Eva Jankov, MUDr. Tatiana aplov ai.),projekcie filmov (imon Ondru, Peter Dimitrov,Anton Szomolnyi, Duan Hank), literrne vee-ry (Michal Hvoreck, Daniel Hevier, Radana Viz-rov-Hvoreck, Bohuslava Vargov) aarteterapeu-tick workshop pod vedenm Jaroslavy ickovej-Fabrici. Kompletn program podujat je uvedenvkatalgu kvstave ana webovej strnke galriewww.galeria19.sk. Po dva veery znela aj barokov hudba. Koncertynazvan Barok o19-tej vGalrii 19 pripravilaViola Kordoov spolu salmi hudobnkmi, kto-r sa venuj historicky pouenej interpretcii sta-rej hudby. Jeden znich obohatila prednesom do-bovej pozie Boidara Turzonovov. Ambicizny bohat program mohla galria reali-zova aj vaka dvom grantom Ministerstva kult-ry Slovenskej republiky. Prv zskala na celoronvstavn pln adruh na vydanie vporad u tre-tieho Vronho katalgu za uplynul rok.

Vladimr Kordo, februr 2014

Art brut na Slovensku, zber do intalcie vstavyArt brut in Slovakia, view of instalation

8Year 2013 Foreword by the Curator

In 2013, Gallery 19 continued in the effort andapproach to present visual art of Slovakia, Mora-via, and Bohemia in the 20th and 21st century,and to remain open in the spectral width of artgenres.The series of four exhibitions of Otis Lauberts artwork began in December 2012 (Conserves) andcontinued with exhibitions From aStrangers Gar-den, Ive Got It All and New Fruits. The author is se-lecting his work from his depository; he is assor-ting it, shifting it, and again creating very surpri-sing artifacts. The exhibition of Vclav Ciglers Here Again intro-duced the five essences of his art work: space,water, light, aman, and glass.The monumental installation of Ciglers was repla-ced by the small chamber celebrations in tem-pera: Known and Unknown by Viera Kraicova.Milo tofko installed his painted objects with anaphoristic game of syllables and words. He namedhis presentation Voyeurism of the Net Cycle. After that, the adventurous and fairy-tale paintingsuch asMeta-Painting is presented. Igor Minrikstill has something to paint on his A2 formats. Art Brut in Slovakia received an exception to therule of a one month limit per exhibition. During itstwo month duration, Gallery 19 introduced aran-ge of mostly untrained artists with the expe-rience of a mental health issue. What they havein common is an artistic quality connected withan original world view. Gallery 19, in cooperationwith the Slovak League for Mental Health, publis-hed an extensive catalogue for this exhibition. The year 2013 ended with the exhibition of PeterKalmus called Nove, full of urging drawings, play-ful but also shivery objects, and acompellingmessage about the Holocaust expressed throughartwork consisting of seventy-three thousandsstones called Memento.I appreciate that gallerists were able to handlevery complicated technical operations related tothe exhibitions. Such an approach enabled thepresentation of the artists works in a good quality. The year 2013 was rich for accompanying eventsas well.

The gallery presented three books: Invisible Town Presporok/Bratislava by Jozef Tancer presented by Kornel Fldvri; Painting/Loving Interviews with Rudolf Filaby Peter Zajac andBarbara Bodorov presentedby the co-author; The book uba Lauffov by Elena Lich-Zbran-sk. The latter book was presented by the authortogether with Vladimr Kordo, Jozef Fabu, andVclav Macek. Marin Varga was the guest of theevent. The curator Katarna Bajcurov together with theguest Aurel Hrabuick lead a discussion aboutthe life and art work of Viera Kraicova.Egon Gl, Peter Zajac, andNorbert Lacko werediscussing the art work of Milo tofko.French art theoretician Etienne Cornevin visitedthe presentation of his documents about Igor andEva Minrik, Milan and Klra Bokay, Otis Lau-bert, Daniel Fischer, and Rudolf Fila. The exhibition Art Brut in Slovakia was accompa-nied by 19 events divided into four thematic blocs lectures (by Vladimr Kordo, MUDr. Jn uba,Duan Ngel, Egon Gl, MUDr. Peter Kukumberg,MUDr. Peter ernk, MUDr. Eva Jankov, MUDr.Tatiana aplov, etc.), presentations of movies(imon Ondru, Peter Dimitrov, Anton Szomolnyi,Duan Hank), literary evenings (Michal Hvorec-k, Daniel Hevier, Radana Vizrov-Hvoreck, Bo-huslava Vargov) and art therapy workshops leadby Jaroslava ickov-Fabrici. The complete pro-gram can be found in the catalogue as well as onthe web page of the Gallery 19 (www.galeria19.sk).Two evenings were devoted to baroque music.Concerts called Baroque at 7 p.m. in Gallery 19were prepared by Viola Kordoov and other musicians who played an interpretation of oldmusic. One of these events was enriched by therecitation of poetry by the Slovak actress Boi-dara Turzonov. This ambitious and rich program could be carriedout thanks to the two grant award from the SlovakMinistry of Culture. The first was awarded for theannual exhibition plan and the second for the cre-ation and printing of the third Annual Cataloguefor activities of Gallery 19 in 2013.

Vladimr Kordo, February 2014

Igor Minrik, zber do intalcie vstavyIgor Minarik, view of instalation

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03. 01. 20. 01. 2013 OTIS LAUBERT II. Z cudzej zhrady

Zberatestvo m mnoho podb, od u-achtilch a po kurizne a bizarn. Zs-ka lovok a zaradi ho do svojej zbierkyje ve, ktorej sa udia venuj odne-pamti. Z detstva poznme vzruujcechvle, ke sme si navzjom vymiealipotov znmky a pocit radosti, ktorsme mali z novch prrastkov. Z podob-nch pohntok sa zbiera vetko mon,od drobnch predmetov cez vraky uta po umenie. Zbierky bvaj zvyajnekvalitne roztrieden, dkladne skatalo-gizovan a atraktvne vystavovan. Va-ka ich neprebernmu mnostvu a rzno-rodosti meme mapova nau bohatminulos a objavova nau neuteenprtomnos.Ak chceme zaradi medzi zberateov, a pl-nm prvom, aj Otisa Lauberta, musmeto urobi s jednou dleitou poznm-kou. Zbiera vetko, ale v zbieran je ne-typicky dvojdom. Svoj zbierkov fondprsne rozdeuje na hlavn, najdleitej-iu as, ktor podlieha jeho permanen-tnej tvorivej premene, a na druh, oddy-chov as lovkov z cudzej zhrady, ktorej sa ani nedotkol. Hoci toto nedot-knut umenie systematicky nezbieral, jeho akvizin dosky sa poas tyridsia-tich rokov uteene napali rozmanitmzbom. Prv diela mu venovali jeho pria-

telia spoluiaci, neskr ich zskaval k-pou od prbuznch autorov a alie zaminimlnu sumu zachraoval pred ne-odvratnm koncom na blch trhoch. Z tchto, asto dobrodrunch putovanza umenm, ktor vyadovali aj ist dv-ku odvahy a predvdavosti, sa vykulapozoruhodne irok kla rozmanitostia kvality. Njdeme v nej majstrov svojhoremesla, autorov polozabudnutch, aleaj celkom neznmych. Nehadajme vakv tom nejak zberatesk system, tto vs-tava chce prezentova o najir okruhprc autorov, ktorch Otis objavil. Pretosa rozhodol pootvori dvierka svojho de-pozitu a ukza nm aj in strnku svo-jich aktivt.A nakoniec, ke sme pri zbierkach, jed-na perlika. Fotografiu enskho torzaod Vilma Reichmanna nazvan V osid-lch, tak ist, ak bola vystaven v rmciMesiaca fotografie aj v tejto galrii, kpilskromn zberate na aukcii vo Viednipred iestimi rokmi za skoro estisc eur.V tom istom ase in prleitostn sk-romn zberate, Otis Laubert, zskal odprbuznej sochra Jaroslava Koia ak-varel enskho aktu za stotyridsa ko-rn. Cesty umenia s arovn a nevy-spytaten.

Marian Meko, janur 2013

Frantiek Drtikol, Akt, 1914, tla, 38 x 28 cmFrantiek Drtikol, Nude, 1914, print, 38 x 28 cm

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03. 01. 20. 01. 2013 OTIS LAUBERT II. From aStrangers Garden

Collections can have many forms fromnoble to curious, or even bizarre. To getsomething and add it into a collectionis a passion people have possessedfrom time immemorial. We rememberthose exciting moments from our child-hood when we were exchanging po-stage stamps and felt joy because of eve-ry new gain. Similar motives drive thecollections of everything possible fromsmall items to wrecked cars and up toart. Collections are usually very well sor-ted, thoroughly catalogued, and presen-ted in an attractive way. Thanks to theirplentiful extent and diversity, we can mapour rich history, and we sometimes dis-cover that existence can be joyless.If we want to include Otis Laubert to thelist of collectors and we definitely ha-ve the right to do so we need to do it withone very important comment. He col-lects everything, but his effort is not ty-pical. He strictly divides his collection,first into the main and most importantpart, which is asubject of his perma-nent creative change, and then into thesecond restful part of his collection, hiscatches from astrangers garden thathe does not even touch. Even though hedid not systematically collect this untou-ched art, his folders of acquisition havebeen filled by various objects for fortyyears. The first art works were given tohim from his friends and peers. Later,

he purchased them from the relativesof artists. Others were rescued by himfrom flea markets where he bought themfor small amounts just to save them froman irreversible end. These often adven-turous pilgrimages for art, that requiredacertain courage and foresight, lead tonotably broad range of diversity and qua-lity. In this collection, we can find mas-ters of the arts, half-forgotten authors,as well as those who are completely un-known. Let us not look for asystem inthis collection. This exhibition would liketo present a broad spectrum of work byauthors discovered by Otis. That is whyhe decided to half-open the doors of hisdepository and to show us another sideof his activities.And finally, while we are talking aboutcollections, let me mention one speci-alty. Photography of the female torso byVilm Reichmann called In the Toils the same that was presented during theMonth of Photography also in this gal-lery was purchased by aprivate col-lector for six thousand Euros six yearsago at the auction in Vienna. At the sa-me time, occasional collector Otis Lau-bert acquired aquarelle of female nu-de for 5 Euros from the relative of thesculptor Jaroslav Koi. The ways of artis magical and unpredictable.

Marian Meko, January 2013

Vladimr Weiser, Bez nzvu, kombinovan technika, 60. roky, 135 x 95 cmVladimr Weiser, Titleless, mixedmedia, sixties, 135 x 95 cm

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24. 01. 10. 02. 2013 OTIS LAUBERT III. U mi dolo, o mi to dolo

Tretia as cyklu tyroch ronch obdobOtisa Lauberta nm predstavuje pod ta-juplnm nzvom U mi dolo, o mi todolo, celkom uniktny zbierkov fondzloen z vec, ktor slobodne putovalisvetom a dovtedy, km sa neocitli zho-dou okolnost v jeho rukch. Tuctov po-tov znmky, korepondenn lstky,nepouit aj doruen listov oblky,pohadnice rzneho druhu a zbytky oba-lovn tvoria pestr inician zmes, ktorsa Otis podujal svojskm interpreta-nm spsobom recyklova a zmeni jejvrazov a vznamov obsah. Otisovi to-ti nesta tieto veci len vlastni, v tomje atypickm zberateom, liacim sa odobvyklch zberateskch aktivt, ktormaj svoje presn pravidl. On ich ne-kompromisne obchdza a zo svojich zn-mok, pohadnc a obalovn hravou for-mou vytvra originlne srie pln hu-moru, neakanch vtipnch stretnut,presahov a komentrov, ktor sa nena-chdzaj v iadnej inej zbierke. Aby to

dosiahol v mene vyieho tvorivho prin-cpu, nevha pouva pri prci s tmtomaterilom ani radiklne omladzovaciemetdy. Vyrezvanm a prekrabvanmzbavuje znmky a pohadnice ich pvod-nho obsahu, preplenm ich pvodnhourenia, priklincovanm ich zbavuje mo-bility a prelepenm po rznych predme-toch z nich vytvra vizulne praliv,navzjom prepojen celky. To vetko robnie preto, aby ich znehodnotil, ale preto,aby v nich objavoval a nachdzal aliemonosti vtvarnch vrazovch a obsa-hovch postupov. Otis sa touto perma-nentne prebiehajcou akciou, balancu-jcou na hranici vtvarnho prejavu a vizulnej pozie, zaober takmer ty-ridsa rokov tak intenzvne, a sa stal jejbytostnou sasou a pomaly sa svojoutvorbou sm premiea na znmku. Ori-ginlnu znmku vysokej kvality, svojsk-ho humoru a obdivuhodnej invencie.

Marian Meko, janur 2013

Otis Laubert, Bez nzvu, zo srie Mail art, 90. roky, pohadnica, pastelkyOtis Laubert, Titleless, from Mail Art series, nineties, postcard, pastelky

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24. 01. 10. 02. 2013 OTIS LAUBERT III. I Found out what I Recieved

The third part of the cycle of Otis LaubertsFour Seasons presented under the mys-terious name I Found out what I Recievedintroduces avery unique collection con-sisting of items which were wanderingfreely around the world until they coin-cidently ended up in his hands. Ordina-ry stamps, correspondent cards, unusedand delivered envelopes, various post-cards, and remains of wrapping mate-rials create alively initial mixture. It wasrecycled by Otis in his special interpre-tational way that changed its expressiveand semantic content. Otis never wan-ted to only own these items that iswhy he is such aspecial collector, diffe-rent from others who have special ru-les. He is strictly avoiding these rulesand out of these stamps, postcardsand wrapping papers creates an ori-ginal series full of humour, unexpectedencounters, interferences, and comentsone cannot find in any other collection.In order to do so in the name of the hig-her creative principle, he doesnt hesi-

tate to use radical alteration methodsin the working with this material.Through cutting and scratching, he reli-eves stamps and postcards of their ori-ginal content; through burning the proofof original delivery and nailing them tothe surface, he deprives them of mobi-lity, and through sticking them to vari-ous objects he creates visually attrac-tive, mutually interconnected units. Heis doing it not to devalue them but todiscover and find other opportunitiesfor artistic procedures both expressi-ve and contextual. Otis has devoted al-most forty years to this permanent ac-tion of balancing on the edge betweenartistic expression and visual poetry. Heis doing this so intensely that he has be-come an essential part of it and slowly through his work he himself changedinto a stamp. An original stamp of a greatquality, characteristic humour, and ad-mirable invention.

Marian Meko, January 2013

Otis Laubert, Bez nzvu, zo srie Mail art, 1994, dreven kazeta, 21 x 16 x 5 cmOtis Laubert, Titleless, from Mail Art series, 1994, wooden box, 21 x 16 x 5 cm

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14. 02. 03. 03. 2013 OTIS LAUBERT IV. Nov ovocie

tvrt as cyklu tyroch ronch ob-dob ns presvieda, e do oho sa OtisLaubert pust, vychdza mu nad oak-vanie dobre. Pre nov rodu kresieb a kol prevane z poslednch dvochrokov si dkladne pripravil tvoriv po-hodu, umne do nej zasial svoje npady,cel vegetan obdobie ich invennezuachoval a nakoniec dkladne po-zberal vetko zrel ovocie. Rob to zdan-livo jednoducho a ahko, ale nenechaj-me sa mli, za tm sa skrva mnost-vo rafinovanch postupov. ist plocha,presne vymedzen geometrick priestorho priahuje ako magnet. Nie preto, abysa nm nadchnal, ale aby na om pre-skmal vetky mon spsoby jeho vi-zulneho naruenia. Naplno spa la-vnu farebnch tokov, raz expresvnych,nervnch, oivujcich jeho nehybnos,inokedy prsne delenm rastrom potvr-dzuje jeho archaick opodstatnenos.Svojou rozmanitosou sa tieto zjavn kre-sebn protiklady naruenej geometrienavzjom priahuj a vytvraj spolu je-den praliv obrazov celok. A o je etezaujmavejie, kresby svojimi nzvamibalancuj na hrane vizulnej pozie.Poste sami:Zaostvam za kamartom Na parceleblzko seba Kde maj zajace utekamedzi demi V lavne Mm farebnbod a neviem pohn zemeguou

Prchav energia Poas stavania mos-ta v Holandsku Nastala sria vbu-chov smiechu, ke sa kocky dozvedeli,ako neskoro ich udia objavili Poha-dom do zhrady je to dokonen Natanenom parkete Ledabolo peknkusy Jednho si vmam viac Podob-n tlejivkm Zo tyroch strn Vietornad dedinou Zdroje a dymy Nvrhpre tch, o chc vytvra mimozemskobrazce Pdorys neznmej stavby Jednotvrny kraj Exaktn ulica Grciby v takomto meste nechceli bva Prekrvanie svetov Padajce adovcez tepla picat kvetovan lka D saprejs Hostina Ak jednoduch.Otis nm na tyroch vstavch v tejto ga-lrii predstavil svoju tvorbu od poloviceesdesiatych rokov po sasnos. Ve-k ast z nej nikdy nevystavoval. Je dob-r, e tto akciu vymyslel a realizoval.Mohli sme si tak doplni obraz o jeho v-tvarnch postupoch a vizulnych obja-voch. V minulom texte som napsal, eOtis sa svojou tvorbou zaober tak in-tenzvne, a sa stva jej bytostnou s-asou a pomaly sa premiea na znmku.Originlnu znmku vysokej kvality, svoj-skho humoru a obdivuhodnej invencie. Po terajej vstave to plat dvojnsobne.

Marian Meko, februr 2013

Otis Laubert, Bez nzvu, 2011, akvarel, pastelky, 30 x 21 cmOtis Laubert, Titleless, 2011, aquarelle, 30 x 21 cm

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14. 02. 03. 03. 2013 OTIS LAUBERT IV. New fruits

The fourth part of the cycle of the FourSeasons is persuading us that every-thing Otis Laubert turns to ends upunexpectedly well. For the newest har-vest of drawings and collages createdmostly during the last two years heprepared acreative comfort and sowedhis ideas into it. Otis cultivated his ideasduring farming cycle and at the end ga-thered the ripe fruit. He is seemingly do-ing this easily and readily, but dont lethim fool you there are many sophisti-cated procedures behind it. Clean areaand strictly defined geometric space isdrawing him like amagnet. Not becau-se he admires it but because he mustexamine all possible ways to visually vi-olate it. He is starting an avalanche ofcolour flow sometimes expressive, ner-vous, and life-giving but other timesconfirming an archaic justness throughstrictly divided raster. The diversity ofthese contradictions of disturbed geo-metry in drawings causes a mutual at-traction and ends up in one catchingvisual unit. And what is even more inte-resting drawings through their names are balancing on the edge of visualpoetry. See for yourselves:I Leg Behind My Friend On a SiteClose to Each Other Where ShouldRabbits Run Among Children In anAvalanche I Have a Colourful Spotand I Cannot Move the Earth Vapori-

zing Energy Building a Bridge in Hol-land Convulsions of Laughter Camewhen Dices Found out How Late PeopleInvented Them The Sight into GardenEnds It All On the Dance Floor Care-lessly Nice Pieces I Notice One of ThemMore Similar to Glow-lamps FromFour Sides Wind above the Village Sources and Smokes Suggestion forThose Who Want to Create Extrater-restrial Patterns Ground Plan of anUnknown Building Dull Region ExactStreet Greeks Wouldnt Want to Livein Such a Town Worlds Overlapping Glaciers Falling Because of Warmth Pointed Flowered Meadow PassageOpen Feast How Simple.Through the four exhibitions in this gal-lery, Otis has introduced us to his artwork created since the mid 60ies untilthe present. A majority of it was neverpresented. It is good that he came withthe idea to carry out such a cycle of ex-hibitions. It enabled us to complete ourideas about his artistic techniques andvisual discoveries. In the previous text Iwrote that Otis is working so intenselythat he has become the essential partof his art work and slowly he is turninginto a stamp. An original stamp of greatquality, characteristic humour, and ad-mirable invention.After this exhibition, it is even truer. .

Marian Meko, February 2013

Otis Laubert, Podobn tlejivkm, 2013, kresba tuom apastelom, 29 x 20 cmOtis Laubert, Cold cathode tubes lookalike, 2013, ink and pastell, 29 x 20 cm

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07. 03. 21. 04. 2013 VCLAV CIGLER Opt zde

V Galrii 19 sme si u zvykli pravidelne sastretva s tvorbou vznamnch osobnosteskho modernho a sasnho umenia,tentoraz mme monos privta alieho pria-tea Slovenska, legendrneho eskho tvor-cu Vclava Ciglera. Do Bratislavy sa vraciaako domov, k svojim. Prvkrt sem priielz Prahy v polovici esdesiatych rokov minu-lho storoia, aby zaloil a viedol Oddelenieskla v architektre na Vysokej kole vtvar-nch umen, kde psobil do konca sedem-desiatych rokov. Na elo sklrskeho ateliru,ktor sa stal naozajstnou kolou myslenia,laboratriom a intelektulnou dielou, sa po-stavil lovek s eurpskym myslenm a rozha-dom. V hlavch posluchov spsobil povest-n prievan, ukzal nm svet ako z balna,otvoril nm oi, vstine na margo Ciglerovho pedagogickho psobenia poznamenal jeden z absolventov oddelenia, Marin Mudroch. Svojm sochrskym nzorom predstavoval Cig-ler, spriaznen s neo-kontruktivistickm hnu-tm a novou ciltlivosou, t nzorov polohu, ktor Jindich Chalupeck vtedy oznail akoprimrne truktry i minimalizmus. Ve-strann, otvoren a netradin myslenie v skle,pochopenie jeho imanentnej filozofie v oveairch svislostiach posunulo jeho tvorbu k inm horizontom; sviseli hlavne s priesto-rom, s vntornm kontextom diela i s vonkaj-mi rmcami jeho zalenenia do prostredia,pochopenho ako totalita stala sa ou kra-jina, prroda, zem, telo loveka i nm pretvo-ren svet. Do svojej tvorby integroval nov fe-nomn virtulneho priestoru a pohybu, vniesoldo nej elementy projektovho a landartovhomyslenia. K sklu sa sprval sui generis kon-ceptulne: objekty, architektry i priestorova sveteln intalcie projektoval idelne, vo-pred potal s vslednm optickm a kinetic-km efektom diela. Hlbokm nasadenm, vyso-

kou tvorivou nronosou nastolil pred svo-jimi posluchmi etick imperatv vytrvalhohadania vlastnej cesty. Nebola preto nhoda,e as Ciglerovch absolventov prekroilamdium skla a svoje vtvarn a umeleck po-slanie objavila v inej, tradin mdi op-ajcej tvorbe. V tej polohe, ktor by sme moh-li oznai pomocnmi pojmami dematerializ-cia a konceptualizcia.Priklonili sa k aknmu umeniu, analze v-tvarnch prostriedkov, k videu i fotografii.In as absolventov a tudentov zas zostalavern sklu, i ke aj v tejto sfre zaznamen-vame mnoh vykroenia za hranice mate-rilovo a funkne definovanej disciplny. Bolato prve u spomnan otvorenos a od-vaha jeho vlastnch vtvarnch cieov, ktordokzal vtepi svojim tudentom i v asoch,ktor neboli ahk. V sedemdesiatych rokochtoti po zaveden tvrdho normalizanhokurzu, ktor dopadol nielen na Vysok kolu v-tvarnch umen, ale aj na cel umeleck prax mohol ri svoj pedagogick a vtvarn ex-periment v zdanlivo zenom poli tzv. itko-vho umenia. Mono prve toto obmedzenievak iniciovalo alie momenty neortodox-nho umeleckho myslenia a medilnehoprekraovania hranc zdanlivo uzavretch dis-cipln, ktor je dnes u vnman ako samozrej-mos. Nielen z pedagogickho, ale aj z tvori-vho hadiska bol pobyt na Slovensku preVclava Ciglera mimoriadne plodnm obdo-bm, prve tu anticipoval mnoh nov my-lienky, formy a postupy, ktor rozvja dodnes,a ktorm dokzal da nielen umeleck hbku,vnos, ale aj vekorys meradlo. Sved o tomaj najnovia vstava realizovan v spoluprcis Michalom Motykom a nazvan jednodu-cho Opt zde.

Katarna Bajcurov, marec 2013

Vclav Cigler, Michal Motyka, Svteln krychle, 2012, tabulov sklo, linern svteln zdroje, dc jednotka, 1 1 1 mVclav Cigler, Michal Motyka, Light Cube, 2012, sheet glass, light source, control unit, metal, 1 1 1 m

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07. 03. 21. 04. 2013 VCLAV CIGLER Here again

In the Gallery 19 we are acustomed to meetregularly creations of significant personali-ties, Czech contemporary and up-to-date ar-tists, this time we can welcome another fri-end of Slovakia Vclav Cigler, the legendaryCzech creator. He returns to Bratislava ashome, as a native. The first time he camehere from Prague in the middle sixties of thelast century, establishing and leading the De-partment of Glass in Architecture of the Aca-demy of Arts, where he worked until the endof the seventies. The glass studio it becamea true school of thinking, a laboratory andintellectual workshop was headed by a manwith European thinking and scope. In theheads of the students he caused the famousdraught, showed the world like from a bal-loon, opened our eyes, as significantly re-marked Marin Mudroch, a graduate of theDepartment, about the pedagogical activityof Cigler. With his sculptural opinion Cigler he favoured the New-construction Movementand new sensibility represented the me-aning, called by Jindich Chalupeck primarystructures or minimalism. General, open andnot traditional thinking in glass, understan-ding its immanent philosophy in much bro-ader coherence, shifted his creation to otherhorizons; they were related mainly to space,to the inner context of the workpiece withouter frames of the suroundings understoodas a total it became landscape, nature, earth,the human body and thus changed the world.He integrated into his creation a new pheno-menon of virtual space and motion, introdu-ced elements of projection and land-art thin-king. To the glass he behaved sui generis withconception: objects of architecture or spheri-cal and light instalations were idealy projec-ted, in advance he took into account the op-

tical and kinetic effect of the work. By deepsetting, high creative exigence he installed infront of his students the ethical imperativ ofthe persistent search for their own way. The-refore it was not accidental that a part of Ci-glers graduates crossed the medium glassand discovered their artistic mission in thefine arts in other creations abandoning tradi-tional media. In the position that could be cal-led by the auxiliary notion dematerialisationand conceptualisation. They inclined towardsaction art, the analysis of art media, videoand photography. Other graduates and stu-dents remained faithful to glass, although wenote here too many crossings behind the bor-der of both materialy and functionaly defineddisciplines. It was just the already menti-oned openness and courage of his artisticaims, which he was able to, inoculate into hisstudents in not easy times. In the seventieswith the introduction of the hard course of nor-malisation affecting not only the Academyof Art, but also the whole artistic practice, hewas able to spread his pedagogical and artexperiment on a seemingly narrower field ofapplied art. It seems that this restriction star-ted other moments of unorthodox art thinkingand the trespassing of closed disciplines, whatis found obvious, now-a-days. Not only fromthe educational but also from the creativeaspect was the stay of Vclav Cigler in Slova-kia an extraordinarily fruitful period, here heanticipated many new ideas, forms and pro-ceedings, developing them to our days, givingthe artistical depth and seriosity and a largemeasure, as well. It is testified by the newestexposition realised in cooperation with Mi-chal Motyka and simply called Here again.

Katarna Bajcurov, March 2013

Vclav Cigler, zber do intalcie vstavyVclav Cigler, view of installation

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09. 05. 09. 06. 2013 VIERA KRAICOV znma neznma

Vstavou Viera Kraicov znma neznma sivGalrii 19 pripomname umelkyu, od kto-rej odchodu uplynul u jeden rok. Ponkamevm pohad, i lepie povedan, vctenie sado vemi osobnej a vnimonej asti tvorby,ktor mono oznai za jej najprirodzenejieprivatissimo. Znma je skutonos, e akomaliarka sa po cel ivot venovala malm, ko-mornm formtom, cez ne obrazne afarebnemyslela, hadala tvar budcich diel, ale naj-m sa radovala zo samotnho tvorivho pro-cesu. Neznme s vak diela, ktor vm pri-name: ukryt vateliri, neboli doteraz zv-a publikovan, ani vystaven. Viera Kraicovpatr knajosobitejm postavm slovenskhomaliarstva druhej polovice 20. storoia. Naj-dleitejmi pre jej vvoj boli 60. roky, kezaila priam eruptvne vzoptie. So zanovitos-ou objavitea a ptraa, neobvyklou pre enu zaala odkrva nov cesty vtvarnho vy-jadrovania, na Slovensku dovtedy neobvykl.Jej program spontnnej maby siahal a k ra-diklnym a v naom kontexte ojedinelm po-lohm: spoval na pretaven a kren pod-netov lyrickej a gestickej abstrakcie, aknej a gestickej kaligrafie, priom sa jej zvltnymspsobom podarilo prepoji nefiguratvne a fi-guratvne postupy. Objavila spontnny zznamokamitch psychickch situci a stavov, kto-r vedela uvonene a impulzvne nahodi napapier i pltno. Expresvna funkcia farebnejhmoty a gesta sa stotonila snonverblnym,symbolickm vznamom, nladou, pocitmi, kto-r sprostredkval. tetec v jej rukch sa stalnielen prostriedkom maovania, nanania

farby, ale i kreslenia a psania farbou. Kresbapsobila maliarskejie, hlavnm znakom uvo-ujceho sa rukopisu bolo oslobodzujce im-pulzvne gesto, ktor malo pre u samu akatarzn inok. asto bola zkladom jej ob-razov archetyplna znakov zostava v ob-rysovo nartnutej kompozcii mono poznajednoduch ovl hlavy, siluetu figry i sku-piny figr, prve ony sa stvali epicentrom fa-rebnch, maliarskych a kresbovch erupci.Neraz volila zmerne naivizujcu dikciu; bolablzka istmu chpaniu detskej tvorby iumeniu modernch primitvov, tzv. art brut.Od 80. rokov sa vjej diele osamostatnila tvor-ba malch foriem rozmerom miniatrnychtempier, ktor okrem inho (ako skice kv-m obrazom) mali funkciu novoroeniek, ka-dorone nimi teila svojich blzkych apriate-ov. Hravos, istota srdca, bezprostredn a miestami okzujco detsk nevinnos okavyvierali z jej umeleckho aosobnostnhonaturelu, vdy tobne oakvanch chvvntornho sstredenia iextatickho maliar-skeho vytrenia. Vofarebnch slvnostiach, vexpresvnychadramatickch vkach ivlyrickom tichu Krai-covej maby bolo vdy nieo odinakia, lzinho sveta. Jej gest vnivo vrhan napltno i papier dodnes nes v sebe nedefino-vaten metafyzickos, miestami divok, ino-kedy pokojn lnia kresby evokuje nieo zves-mrnych zkonitost, pomran modly aokrd-len bytosti si stle stria svoje tajomstv.

Katarna Bajcurov, mj 2013

Viera Kraicov, Bez nzvu, 90. roky, tempera na papieri, 30 x 20 cmViera Kraicov, Titleless, nineties, tempera on paper, 30 x 20 cm

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09. 05. 09. 06. 2013 VIERA KRAICOV known and unknown

Gallery 19 wanted to commemorate Viera Krai-cov who passed away ayear ago through the ex-hibition Viera Kraicov known and unknown. Weoffer you aview, or rather to say a chance to putyourself into avery personal and special part ofher art work that can be labelled as her most na-tural privatissimo. The fact is that all her life thispainter was working on small and cabinet pictu-res. Through them she was thinking in picturesand colours, she was searching for the sha-pes of her future art work, but she especiallyfelt joy from the creative process itself. The pain-tings we are bringing to you are truly unknown:they were hidden in her studio and never shownor exposed to the public. Viera Kraicov is oneof the most original representatives of Slovakpainting in the second half of the 20th century.The 60ies were the most important years forher artistic development she experienced al-most eruptive camber. With the stubbornnessof an inventor she started to uncover new waysof artistic expression that were unusual at thattime for Slovakia. Her program of spontaneouspainting reaches up to the radical and in ourcontext it has unique aspects: it was based onthe transformation and interference of impul-ses of lyrical and gestic abstraction, action andgestic calligraphy. In doing so, she was able toconnect non-figurative and figurative techniquesin avery special way. She discovered a sponta-neous way of recording immediate mental situ-ations and states that she could grasp and putto paper and canvas in both relaxed and impul-sive way. The expressive function of acolourfulmass and gesture became one with the non-verbal, symbolic, mood, and feelings they werereflecting. Thebrush in her hands became notonly the tool for painting and applying colours,

but also for drawing and writing in colours. Thedrawings looked more like paint, the liberatingimpulsive gesture that had for the artist herselfcathartic effect was the main attribute of hermanuscript. Her paintings were often based onan archetypal set of features in the composi-tion one can find asimple shape of ahead,asilhouette of afigure or agroup of figures they became the epicentre of colourful, paintedand drawn eruptions. She persistently choseamore naive diction and she did that on pur-pose; she had a close relationship and under-standing for childrens art or for the art of mo-dern primitives Art Brut. Since the 80ies,the creation of small, miniature tempera, gainedindependence in her art work. These small pain-tings had in addition to other meanings (theyserved as sketches for larger paintings) afun-ction of New Year's greetings. Every year she wasbringing joy to her relatives and friends throughthem. Playfulness, purity of heart, immediate andsometimes charmingly childish innocence of theeye those were a natural part of her artisticand personal nature, together with wishfully ex-pected moments of internal concentration andecstasy in paint. In colourful celebrations, in expressive and dra-matic heights but also in the lyrical silence ofKricovas painting, there was always somethingfrom elsewhere aray from another world. Hergestures passionately casted to canvas andpaper even today hold something undefined,metaphysical. Her wild but other times calm lineof drawing evokes something from cosmic regu-larity, the idols and winged creatures scribbledall over still hold their secrets.

Katarna Bajcurov, May 2013

Viera Kraicov: Bez nzvu, 90. roky, tempera na papieri, 21 x 15 cmViera Kraicov: Titleless, nineties, tempera on paper, 21 x 15 cm

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13. 06. 14. 07. 2013 MILO TOFKO Voyeurizmus z cyklu SIE

Milo tofko u dve desaroia splieta ob-rovsk virtulnu SIE, rozprestiera ju nadneviditenou rou symbolov, atrpezlivo vy-kva na vhodn chvu, aby jupoda aktu-lnej potreby nastrail sebavedommu sym-bolizmu udskej mysle. o na tom, e loveksa u dvno zamotal dokomplikovanej sieteznakov, ktor si okolo svojho bytia sm uplie-tol vndeji, e mu to pome lepie po-zna svet i seba samho! Samozrejme, ajtofkova SIE je sama utkan znevidite-nch konceptulnych truktr, ale na rozdielod nedohadnej re symbolov, ktor muodkazova aj prostrednctvom rei, je z-visl predovetkm od vizulnych manifes-tci. Zviditeuje sa sce vaka mysleniuaprostrednctvom jazykovch znakov, nobez pomoci vtvarnka by tto virtulna SIEostala neviditen. To on ju mus aktualizo-va, aby sa vbec vyjavila falonos identityako princpu, aodhalil vadeprtomn pro-ces diferencicie. Akee diferencicia jetvoriv akritick, aj znaky, ktor aktulneuviazli v tofkovej SIETI, podliehaj prehod-nocujcej aspochybujcej reflexii. Vnanovo rozhodenej SIETI sa tentoraz zra-ia voyeuristick sklony autora, ten vaksvoju pornografick obsesiu neukja po-hadom na telesnos udskho tela, ale tm,e obnauje neviditen telesnos jazyka.Namiesto toho, aby ns klamal optickmi il-ziami sveta, lka ns do rafinovane na-straench smantickch, syntaktickch iprag-matickch pasc jazyka, reprezentuje ichale prostrednctvom vizulnych repetci.Vmierne transponovanch intalcich re-cykluje a rekontextualizuje aj minul mani-

festcie svojej SIETE. Opakuje, aby zvznam-nil iluzrnos aodlil ju od simulcie, ktorbola predmetom jeho zujmu vpredchd-zajcej SIETI (Simulakrum, 1999). Hypote-ticky sa pohybuje vrmci imimo obrazuakiluzrnemu pohybu nti aj divka. Zacyk-len obraz prestva by autonmnym ilu-zrnym priestorom reprezentcie astvasa sriovm objektom sreferennm poten-cilom rozrenm o asasne obmedze-nm na alie obrazoobjekty srie. Obrazstrca hbku aodra pohad, ktor bez-radne bldi po povrchu, ktor nedoke pre-nikn. Maliar nereprezentuje skutonos,ale vytvra obrazoobjekt bez ambcie na upiktorilne odkazova. iada opomoc jazyk,ten ho vak zrdza rovnako rchlo, ako hopredtm zradil obraz. Zmtenmu divkovi,ete stle dverujcemu vlastnmu po-hadu a oakvajcemu verbalizovaten il-ziu, unik (hlb) zmysel;nechpe, e zmy-sel toho, o oakva, tkvie vtom, o (ne)vid.Avtom, ako a preo to (ne)vid. Chytil sa dopasce, uviazol vSIETI. Ako chab nhraduza nevydaren zitok mu maliar ponkaopakovan percepn pohyb. Samozrejme,iluzrny. Sklaman divk, neochotn zmierisa so zradou obrazu, ta text, sna sa muveri, ten ho vak iba utvrdzuje viluzrnos-ti konvennej interpretanej hry zoi-voiaumocuje vom bezndej voyeura. Zrej-me mu neostva ni in, ne sa spolu sma-liarom oddva rozkoiam voyeurizmu. Alebosa na to cel vzneene vyprdn.

Jozef Cseres, jn 2013

Milo tofko, Voyeurizmus, zcyklu Sie, 2012, obrazoobjektMilo tofko, Voyeurism, from the Cycle Net, 2012, paintobject

FI LO ZOF AG NOS

TIK DDD CHO DDEBI LIZ

MUS V K R

I K KA SA MI

KA A B C D

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13. 06. 14. 07. 2013 MILO TOFKO Voyeurism from the Cycle NET

Milo tofko has been weaving a huge virtualNET for two decades. He is spreading it overthe invisible empire of symbols and is waitingpatiently for the right moment to put it whe-re necessary on the self-confident symbo-lism of the human mind. Who cares that a man has long since entangled himself intothe complicated net of signs he weaved in thehope it will help him to better understand theworld and even himself! Of course, tofkosNET is made from invisible conceptual struc-tures, but in comparison to the vast empireof symbols which refer mainly to language, itis dependent primarily on visual manifestati-ons. Even though it makes itself visible thanksto characters and language, this virtual NETwould stay invisible without the help of the ar-tist. He is the one who needs to update it sothat it will uncover the insincerity of identityas a principle in order to uncover an omnipre-sent process of differentiation. And as the dif-ferentiation is both creative and critical, thesymbols caught in tofkos NET are the sub-ject of a revaluing and doubting reflection.In this newly put NET, we can find voyeuristicinclinations of the author. However, he is notsatisfying his pornographic obsession throughthe sight of a human body but through unco-vering the invisible sensuality of a language.Instead of fooling us with visual illusions ofthe world, he is luring us into the sophistica-ted traps of language semantic, syntactic,and pragmatic represented through visualrepetitions. In reasonable transposed instal-lations he recycles and re-contextualizes the-past manifestations of his NET. He repeatedlyemphasizes the illusoriness and distinguis-hes it from the simulation that was in the

centre of his interest in the previous NET (Si-mulakrum, 1999). He is hypothetically mo-ving within and outside the painting and heforces the spectator to do the illusory moveas well. The circular image stops to be anautonomous and illusory space of represen-tation and becomes a serial object with a spre-ading reference potential but at the sametime is limited to other paintobjects of this series. The image loses its depth and reflectsa glance which is helplessly wandering on thesurface and cannot get through. The painterdoes not represent the reality but creates thepaintobjects without ambition to refer to it in a pictorial way. He asks the language forhelp, however it is betraying him similarly quic-kly as the image has done it before him. A con-fused spectator still trusting his own viewand expecting illusion with the potential forverbalization misses the (deeper) meaning,he does not understand that the meaning ofwhat he is expecting lies in what he can (cant)see and in how and why he can (cant) see it.He was trapped in the NET. The painter is of-fering a repeating perception of movement asa small compensation for an unsuccessful ex-perience. The movement is of course illu-sory. A disappointed spectator, unwilling toreconcile with the betrayal of the painting isreading the text, tries to believe it, however,it only strengthens the illusory character of theconventional interpretive game and strengthensthe hopelessness of the voyeur in him. All hecan do is together with the painter to de-vote himself to the pleasures of voyeurism.Or send it all to hell in a noble way.

Jozef Cseres, June 2013

Milo tofko Nomdizmus voyeura, 2012-13Milo tofko Voyeurs nomadism, 2012-13

Milo tofko Dizajn-Dasein, 1994

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22. 08. 22. 09. 2013 IGOR MINRIK Metamaba

NHODNOS MYSLUChodme hore-dolu a ani nevieme, koko a-su strvime tmto chodenm. Niekam predsazasu na as musme prs. Nememe trvias opakovanm toho istho zitku. Znovuaznovu robme to ist, aby sme sa neopako-vali. Napriek tomu, e opakovanie je matkoumetafory, at sa predsa nikdy nemen. Mi-nrikova vytrvalos nikam nevedie. Neustleje na tom istom mieste na svojom poschod.Nestrca as, hoci kedykovek me prestamaova akedykovek me vmaovan pok-raova. Pri svojom maovan neustle obja-vuje asn jednotlivosti, ktormi je posad-nut. Je to nevyspytaten proces. Oprostenod hluku okolo ns sa nhle zastav azapo-va do zvukov ticha. Vetci sa pohybujemevtomto przdnom ase medzi dvoma mo-nosami. Vyberme si slov obdaren zmys-lom asname sa vyvola aspo zchvev po-rozumenia. Nie vdy sa nm to dar. A tak akosme sa uili ta text alebo poziu, ume sata aj obrazy. Jednoduchos je pritom jedindovolen rozptlenie. Napriek tomu sa nene-chme rozptli pod iadnou zmienkou. Jed-noducho neustle zisujeme, e zo vetkchvec, ktor ns obklopuj, je nae vedomie to,o je najaie si udra. Pravda, okolnosti to-mu skoro vdy brnia. Apredsa Minrikoveobrazy hovoria osebavedom,slobode duchaaohravosti, ktor m nepredvdaten prek-vapenia. Minrikove vitlne ambcie skrva-j vsebe jeho zkos. Neviem vlastne dosdobre, o znamen by umelcom. Vistom zmys-le slova je to niekto, ukoho predpokladm,e m cit aporozumenie a sna sa uchopipohybujcu sa budcnos. Pokam sa tomuspolu sMinrikom porozumie.

Ctime atento pocit pri vetkej nejasnostim svoje opodstatnenie (E. Husserl). na hranicch mezi gestem akonstrukcna hranicch mezi vnost aironina hranicch mezi ernou ablouna hranicch mezi kresbou amalbouna hranicch mezi racionlnm alyrickmna hranicch mezi rami aplochou...napsal Ji Valoch vtexte kvstave Igora Mi-nrika Prce na pape, ktor sa konala v Do-cela malm divadle v Litvnove roku 1989aMinrik nm dva zretene najavo, e je totak, e vetko m zmysel, bez ktorho by bolokad dianie nezmyseln. Pravda, problema-tizovanie zmyslu by ns priviedlo pred otzkyhodnotovch kritri. Tto osudov recidvavumen je tm skutonm poznanm. Minrik vnma svet sirniou apokorou, ne-spokojn so sebou samm. Nechce by pokla-dan za niekoho, km nie je. Chce si udrakontakt so sebou aso svetom okolo. Jedno-ducho preva svoj vesmr, ale neznamen toskok do neistoty. Je to nik pred kadoden-nosou, pred nrokmi civilizcie aaj pred se-bou samm. Nie vdy sa mu to dar, nie vdysi rozumieme sami so sebou asdobou, vkto-rej ijeme. Napriek tomu alebo prve preto jepre ns dleit, aby sme odolali vetkmmonm nstrahm. Minrik nm ponka rie-enie. Predsa len sa pod zdanlivo chaotickmpovrchom nieo deje, nieo dleit, o nspriahuje, prinajmenom vyvolva nau zve-davos. Aj naa kadodennos sa me staautentickm zitkom, aaj za asti naichreminiscenci. Inpircia je predsa vedommpamti.

Marin Mudroch, august 2013

Igor Minrik, 04. 02. 28. 02. 2011, tempera, 59 x 41 cmIgor Minrik, 04. 02. 28. 02. 2011, tempera, 59 x 41 cm

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22. 08. 22. 09. 2013 IGOR MINRIK Meta-Painting

RANDOMNESS OF INTENTION We are walking there and back not even kno-wing how much time we spend doing that. Atleast from time to time we need to arrive so-mewhere. We cannot spend our time by repe-ating the same experience. We are doing thesame things again and again in order not torepeat ourselves. Despite the fact that repe-tition is the mother of metaphor and that me-taphor is never changing. Minriks persis-tence does not lead anywhere. You can find itin the same place, on the floor. He does notlose time, even though he can stop or conti-nue painting anytime he wants. While pain-ting, he is still discovering great details he isobsessed with. It is an inscrutable process.Absolved of noise around us it just sud-denly stops and listens to the voice of silence.We all are moving in this empty time betweentwo options. We are choosing words full ofmeaning and are trying to draw at least someunderstanding. We are not always successful.And in the same way as we are learning toread a text or poem, we are learning to readpaintings. Simplicity is yet the only allowed di-straction. Despite that, we dont let any pre-tence distract us. We are simply still findingout that from all the stuff around us, ourconscience is hardest to preserve. The truth isthat circumstances are keeping us from doingso. But Minriks paintings are indeed talkingabout self-confidence, freedom of soul andplayfulness with unexpected surprises. His vi-tal ambitions hide his anxiety in them. I trulydo not know what it means to be an artist. Insome sense, I would suppose an artist is so-mebody with taste and understanding, some-body who is trying to grasp a moving future.Together with Minrik I am trying to under-stand it.

We sense and this feeling has its meaningdespite all the ambiguity (E. Husserl). on the edge between gesture and constructionon the edge between seriousness and irony on the edge between black and white on the edge between drawing and painting on the edge between rational and lyric on the edge between lines and surface...these are the words of Ji Valoch for the ex-hibition of Igor Minrik called Works on Paperthat was held in Quite Small Theater in Litv-nov in 1989. And Minrik clearly lets us knowthat it is so that everything has its meaningwithout which any course of events would lo-se its sense. The truth is that doubts aroundthe meaning would bring us to question thecriteria of values. This fatal recidivism withinart is the right form of knowledge.Minrik perceives the world with irony and hu-mility, unsatisfied with himself. He does notwant to be seen as somebody he is not. Hewants to keep in contact with himself andwith the world around him. He is simply expe-riencing his own space, but it does not meanit is a jump into the unknown. It is an escapefrom the everyday, from the demands of thecivilization and from himself. He is not suc-cessful in it all the time we do not alwaysunderstand ourselves or the age we live in.Despite that or rather because of it it is im-portant for us to avoid all the traps. Minrikis offering us a solution. Nevertheless, thereis something happening under the seeminglychaotic surface something important, so-mething that draws us closer and draws ourattention. Even the everyday can become anauthentic experience with the presence ofour reminiscences. Indeed, inspiration is theconscience of memory.

Marin Mudroch, August 2013

Igor Minrik, 08. 06. 30. 09. 2000, tempera, 61 x 46,5 cmIgor Minrik, 08. 06. 30. 09. 2000, tempera, 61 x 46,5 cm

38

26. 09. 24. 11. 2013 ART BRUT NA SLOVENSKU

Mnoh udia so sksenosou sduevnou po-ruchou alebo psychickmi problmami majvtvarn nadanie soriginlnym pohadom nasvet. Dlhodobm cieom profesionlnych v-tvarnkov, psycholgov apsychiatrov zdrue-nch okolo Ligy za duevn zdravie je pod-chyti, vies apodpori tchto talentovanchautorov v ich autentickej vtvarnej innostia ponknu im monos prezentova svojutvorbu verejnosti. Vstava Art brut na Sloven-sku je vystenm tchto iniciatv. Po skromnej-ej vstave realizovanej v roku 2010 ide vna-om kontexte oprv v projekt svojho druhu. Cieom projektu je predstavi tto tvorbu z rz-nych zdrojov najm zprostredia obian-skych zdruen pomhajcich uom preko-na ivotn krzu spsoben psychickou po-ruchou. Jadro predkladanej prezentcie tvorzbierka Galrie Nezbudka, fungujca pri Ligeza duevn zdravie. Vtvarn arteterapeutickatelir v rmciGalrie Nezbudka vznikol predviacermi rokmi zpodnetu zakladatea Ligyza duevn zdravie, psychiatra Petra Breiera,ktor prizval kspoluprci vtvarnkov Vladi-mra Kordoa aIgora Minrika, ktorho ne-skr vystriedal Duan Ngel. V sasnosti ve-d atelir spolu sNaou Kanevovou. Kad vystavujci autor je svojbytnou osob-nosou svlastnm individulnym rukopisom,kad znich m in vzdelanie, odlin socilny

pvod, in kultrne aekonomick zzemie.Stynmi bodmi ich tvorby je osobitos, auten-ticita aformlna iobsahov originalita. Tietocharakteristiky s typick pre umenie, ktorvroku 1945 franczsky maliar ateoretik JeanDubuffet oznail ako art brut. Svetoznmy es-k kritik ateoretik umenia Karel Teige preloiltento termn ako umenie vsurovom stave. Dielareprezentujce tto tvorbu vytvraj zvanekolen autori, ktor slobodne vyjadruj svojecity apocity bez ohadu na vtvarn pravidlamdne trendy. Rovnocennou sasou vstavy realizovanejvGalrii 19 s sprievodn podujatia, urenirokej laickej, ale aj odbornej verejnosti, kto-r s rozdelen do tyroch tematickch blo-kov: arteterapeutick atelir, talent amedic-na, literatra, hudba aart brut, arteterapia. Verme, e vstava isprievodn podujatia sprs-pevkami renomovanch odbornkov zrznychoblast (vtvarn umenie, medicna, psycho-terapia, arteterapia, literatra, film) prispejkvyej informovanosti oduevnch poru-chch apomu rozvin diskusiu rznymismermi. Na vstave vGalrii 19 bud po prv raz vy-staven aj prce det sduevnmi poruchami.

Vladimr Kordo aJn uba, september 2013

Peter Dunaj-SpilySylvia MikolkovZuzana Ebringerov

Daniel HorkFrantiek Tth

Viktor BrichtaRbert KanekPeter tefnik

Vber diel z vstavy

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26. 09. 24. 11. 2013 ART BRUT IN SLOVAKIA

Many people living with mental illness or psy-chological problems are talented in visual art;it is typical for them to have a unique view ofthe world. The long term goal of professionalartists, psychologists, and psychiatrists asso-ciated with the Slovak League for Mental He-alth is to identify, lead and support these ta-lented artists in their authenticity, and to offerthem the opportunity to present their work tothe public. The Art brut exhibition is the out-come of these efforts. After a modest exhibi-tion organized in 2010, this is the first largeproject of its kind implemented in this con-text.The project goal is to present this art workfrom various civic associations helping pe-ople to overcome their life crises caused by a mental illness. The core of the presentationis from the Nezbudka Gallery collection atthe Slovak League for Mental Health. The art-therapy atelier was established within the Ne-zbudka Gallery several years ago; it was ini-tiated by the founder of the League psychi-atrist Peter Breier who invited artists VladimrKordo andIgor Minrik (the latter was laterreplaced by Duan Ngel) for their coope-ration. Currently, Vladimr Kordo leads theatelier together with Duan Ngel and NaaKanevov.Every artist represented in the catalogue andin the exhibition has their own unique experi-ence and creative expression; each of them

having had a different educational background,social origin, cultural and economic back-ground. What they have in common is theirindividuality, authenticity, and formal but alsocontextual originality. These characteristicsare typical for art labelled by the French pa-inter and art theoretician Jean Dubuffet asArt Brut in 1945. The world renowned Czechcritic and art theoretician Karel Teige trans-lated this term as row art. Artworks repre-senting this type of creation are usually madeby untrained artists who freely express theirfeelings and emotions regardless of the rulesof conventional art and fashion trends.The exhibition presented in Gallery 19 is com-plemented by equally important accompany-ing events for the wider public and expertsalike. These can be divided into four thematicblocs: art-therapy atelier; talent and medicine;literature, music, and art brut; and art-therapy. We believe this exhibition, together with theevents prepared in cooperation with variousrenowned experts in art, medicine, psycho-therapy, art-therapy, literature, and film, willcontribute to the better awareness of mentalillnesses and will help to lead this discussionin a positive direction. For the first time, visitors of Gallery 19 willalso have a chance to see the works of chil-dren with mental illnesses.

Vladimr Kordo aJn uba, September 2013

Vclav RybaPeter CossStanislava Bratkova

Tom ChaloupkaRaso BibzaJuraj vrek

Stanislava KakovMatej MartinkaDominik Grussman

Selected works

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05. 12. 2013 26. 01. 2014 PETER KALMUS Nove

Hada sa v sebe. Hodinu. Kad de. Nepre-trite 20 rokov. Bra do ruky kamienky ob-lzky (slovensk okruhliak znie v tomto pr-pade vemi tvrdo), kad jeden chyti do ruky,vnma vodou vyhladen povrch, obali ho mo-sadznm drtom a siahnu po alom ob-lzku. 70 tisc za 20 rokov. 70 tisc kamien-kov -- 70 tisc ivotov, zmarench, odvleench, zavradench... A okrem nemch oblzkov sa na to vetko pozerali oi ivch svedkov.ivch, ale rovnako nemch. Jedny onemeliod hrzy, druh od hanby. Na to vetko sa dmyslie, ke lovek v tichu hodinu denne ha-d odpovede vo svojom vntri. Na obete. Napchateov. Peter Kalmus, ktormu v ilchkoluje krv idovsk i slovensk (ak je vbecmon krv takto deli), v sebe nesie traumuobete i vitky pchatea. 70 tisc oblzkov --70 tisc ivotov -- 70 tisc prbehov a alie tisce nit k prbehom ivch, preivch. Ka-mienky Kalmus zbieral pri troch riekach svoj-ho ivota Hornde, Vhu, Dunaji. Km bs-nik Jn Kollr pri svojich troch riekach myslelna lsku, Kalmus zo svojich riek vyberal sto-py, pam, oi-oblzky, ktor mlky sledovali,o sa okolo nich dialo. Sm o tom svojho a-su napsal asom som dospel k presvede-niu, e najlepm spsobom, akm by bolomon vzda ctu viac ako sedemdesiatim ti-scom idovskch obet, zavradench v ob-dob holokaustu, by bolo vytvorenie monu-mentlneho diela, zahrujceho v sebe sedem-desiattisc kamienkov. Kad jeden z tchtoprrodou opracovanch a vyhladench kamien-kov som dotvoril mosadznm drtom. Prepo-jenie prrodnch kamienkov s tradinm v-tvarnm materilom mosadzou sa mi javiloby idelne. Z kadho jednho kamienkavlastne vznikla originlna miniatrna plas-tika. Historizujce i sasn. Pokorn i dyna-mick. Meditatvne i pietne. Ke Kalmus do-

konil svoje Memento, skonila sa aj jeho me-ditcia, ritul. Jeho vyrovnvanie sa s minu-losou, konfrontcia so sasnosou a my-lienky na budcnos smr, sa ale neskon-ili. Potreba ticha, potreba kladenia otzok a hadania odpoved pokraovala. Ke sa nie-kto nau i sm so sebou, potrebuje to. Akodchanie. A tak si nachdza aliu tvorbu, v ktorej je proces pre autora dleitej akojeho vsledok. Trpezlivo, hodiny a hodiny na-na pastelkami na papier farebn linky, akm nie je przdnota zaplnen. Pohad na tiehotov, na tie, ktor u Kalmusovi pomohli,pomha nm. Vidme, e ivot je aj pestros,aj prsnos aj presnos. Vidme, e sa v nichd plva, nara pravidelnos, strca sa vofarbch. Ale musme hada aj v sebe, aby smenali to przdno nekoneno transcenden-tno, ktor Kalmus zaplnil pastelkami, alebolen prekryl, alebo len pietne zakryl? To je una ns, o za tm vidme. A autor? Ten, keopust svoje ticho a vid, o sa deje okolo ne-ho, zane blzni. Aby sa sm plne nezblz-nil. Ni symboly totality, pobehuje v erve-nch montrkach s komunistickmi symbolmipo Bratislavskom hrade, na ktorom vraj sdlilkr Svtopluk, obauje kontroverzn osob-nosti toaletnm papierom, stavia v mestchhranoly s ervenmi kravatami, zapa galrieodpadom, kandiduje na prezidenta. Blzon?ao? Klaun??? ao nie, ao potrebuje kr-a a ten tu nie je. U aj hol kr je nedostat-kovm tovarom. Blzon asi tie nie, pretoenormy sa nm vychlili a nov sme si ete ne-postavili. Blznovstvo je nemon definova,ak neexistuje etaln normlnosti. eby tedaklaun? Toto je mj prbeh s Kalmusom a cezKalmusa. Ten svoj si muste napsa sami. Nechsa pi, vstpte.

Boris Krk, december 2013

Peter Kalmus, Memento, 1988 2008, pribline 70000 kamienkov, detailPeter Kalmus, Memento, 1988 2008, approximately 70000 stones, detail

44

05. 12. 2013 26. 01. 2014 PETER KALMUS Nove

To look for yourself inside yourself. One hour.Every day. Constantly. For 20 years. To takejackstones into your hands, to touch everyone of them, to perceive the surface smoo-thed by water, to wrap it into a brass wire and reach for another. 70,000 in 20 years.70,000 stones 70,000 thwarted, draggedoff, devastated lives... In addition to mutejackstones, there were also eyes of living wit-nesses looking at it. Living but similarly mute.Some of them were struck speechless be-cause of the horror, others because of sha-me. One can think about it all while duringan hour of the day searching for answersinside. One can think about the victims. Aboutthe perpetrators. Peter Kalmus, with the Je-wish but also Slovak blood in his veins (if it iseven possible to distinguish between bloods),is experiencing the trauma of a victim as wellas a perpetrator. 70,000 jackstones 70,000lives 70,000 stories and other thousandsof threads leading to stories of those living orsurviving. Kalmus collected the stones nearthe rivers of his life Hornd, Vh, Danube.While the poet Jn Kollr was thinking aboutlove while walking along his rivers, Kalmuswas taking out traces, memories, eyes jack-stones out of them. They were silently wat-ching what was going on around them. Kalmus wrote about it: After some time I wasconvinced that the best way to honour thosemore than 70,000 Jewish victims murderedin the Holocaust would be to create a monu-mental art work consisting of 70,000 stones.I put a finishing touch to each of these stonessmoothened by nature. I did it by a brass wire.The inter-connection of natural stones with a traditional artistic material brass see-med perfect to me. In such a way, every littlestone was transformed into a miniaturesculpture. Historicist but also modern. Hum-ble and dynamic. Meditative and pious. WhenKalmus finished his Memento, he ended hismeditation, rite. However, the process of co-

ping with the past, confrontation with pre-sence, and thoughts about the future death are not finished yet. The need for silence,the need to ask questions and to find an-swers has continued. When somebody learnshow to live with himself, he needs it. As muchas breathing. Then he can find new creationin which the process is more important thanthe result. Patiently, hours by hours, he usespastel lines to fill the emptiness. Look at tho-se finished lines those that have alreadyhelped Kalmus help us now. We can seethat life is colourful, but we can see a strict-ness and precision. We can see them, we canswim in them, we can disturb the regularityand get lost in colours. However, we need tolook into ourselves in order to find that emp-tiness infinity transcendence that was fil-led, overlaid, or only piously covered by Kal-muss pastel. It is up to us to decide what wesee behind it. And what about the author?When he leaves his silence and sees what isgoing on around him, he starts to go mad.And in order not to get completely crazy, hedestroys symbols of totality, runs in his redoveralls with communistic symbols aroundthe Bratislava castle where king Svatoplukhad his seat. He is wrapping controversial ce-lebrities in toilet paper, he builds squares withred ties in the town centres, he fills the galle-ries with trash, he runs in presidential electi-ons. A mad man? A jester? A clown??? No, heis definitely not a jester. A jester needs a kingand there is no king here. Even a naked kingis a scarce commodity. He cannot be a madman either, as the old norms have been shif-ted and we still miss the new ones. It is im-possible to define madness if we miss thestandard for normality. Is he a clown then?This is my personal story with Kalmus andthrough Kalmus. You need to write your own.Welcome and come in.

Boris Krk, December 2013

Peter Kalmus, Zves, 2004 2013, vrchnky zplechoviek, detailPeter Kalmus, Curtain, 2004 2013, can lids, detail

Sprievodn akcieEvents

21. 02. 2013Jozef Tancer, Neviditen mesto Preporok/Bratislava

(prezentcia knihy Kornel Fldvri)Jozef Tancer, Invisible Town Preporok/Bratislava

(book presentation Kornel Fldvri)

30. 05. 2013Katarna Bajcurov a Aurel Hrabuick (komentovan prehliadka vstavy Viery Kraicovej)Katarna Bajcurov and Aurel Hrabuick (commented guide to the exhibition of Viera Kraicov)

K. Fldvri u(foto/photo: D. Ngel)

27. 06. 2013Peter Zajac a Barbara Bodorov,Maovanie/milovanie Rozhovory s Rudolfom Filom(prezentcia knihy Barbara Bodorov)Peter Zajac and Barbara Bodorov, Painting/Loving Interviews with Rudolf Fila(book presentation Barbara Bodorov)

q diskusia ku knihe/discussion of the bookR. Fila, P. Vilikovsk a M. Bokay

12. 09. 2013Barok o 19-tej v Galrii 19Baroque at nineteen in Gallery 19

02. 10. 22. 11. 2013 Sprievodn podujatia k vstave Art brut na SlovenskuEvents accompanying the Art Brut in Slovakia exhibition

p R. Fila, D. Filov a J. uba (foto/photo: D. Ngel)

p J. ickov-Fabrici a D. Jakov

p M. Stao, E. Jankov a K. Minichov

p D. Hank, J. uba a nvtevnci/and visitors(foto/photo: D. Ngel)

p I. Mr a . tefnikov

04. 11. 2013Elena Lich-Zbransk, uba Lauffov (prezentcia knihy) V. Kordo, E. Piovarcsyov, E. Lich-Zbransk a J. Vargov,hos veera M. VargaElena Lich-Zbransk, uba Lauffov (book presentation)V. Kordo, E. Piovarcsyov, E. Lich-Zbransk a J. Vargov,guest of the evening: M. Varga

p V. Macek

12. 12. 2013 Barok o 19-tej v Galrii 19, hos veera B. TurzonovovBaroque at nineteen in Gallery 19, guest of the evening: actress B. Turzonovov

50

Sprievodn text k vstave VCLAV CIGLER Opt zde

Vstava Vclava Ciglera Opt zde v Galerii 19v Bratislav je jakmsi nostalgickm nvra-tem do mst kolnho obdob setkvn, vzpo-mnek a emoc nevratn zapadajcm do ir-ho kontextu podstaty Ciglerovy tvorby, je re-prezentuje pt princip: prostor, voda, svtlo,lovk, sklo. Prostor a sklo se stvaj prost-edky komunikace, voda a svtlo symbolizujzkladn prvky ivota a cel dlo prostupujebytostn jednota lovka a prostoru. VclavCigler m zvltn dar cosi jako prostorovcit, jakousi potebu transformovat hmotu nedo formy objektu, nbr do zpsobu existencevstupovnm do procesu a uvdnm divkado prostorovch situac. Pirozenou podstatoujeho dla je vak poezie, doptrat se j zname-n poznat vlastnosti trvy, vody, oblak, urittektonick vlastnosti kamene, konstruknmonosti kmene stromu, ocelov traverzy, od-hadnout monosti novch materil a urit je-jich pouit. Vlastnosti materil je monbu respektovat, nebo mnit urenm novchkomponent a vztah v chemickch nebo fy-ziklnch procesech. Poezie je nejen obdiv,vyplvajc z poznn, poezie je i schopnostmnit. Poezie je nultm bodem kadho tvr-ho ponn. Lhostejno, jestli vdeckhonebo umleckho. Prostednictvm vstavynazvan Opt zde pipomn Vclav Ciglerbratislavskm ptelm a veejnosti sv p-soben po 48 letech, kdy byl poven Vysokoukolou vtvarnch umn, aby zaloil a vedlatelir Sklo v architekture. Jeho kola byla la-borato mylen, experimentln dlnou, pro-stedm sebepoznn. Paraleln vedle peda-gogick innosti se Cigler vnoval s plnm na-

sazenm vlastn vtvarn prci. Toto trncti-let koln obdob je ZDE pipomenuto formouprojekce realizac svtelnch objekt pro bu-dovu Slovenskho nrodnho divadla, svtel-nou kompozic v Rytskm sle Bratislavsk-ho hradu a v nkolika dalch jeho prosto-rech, sestavou svtel pro novou budovu slo-vensk vldy, jako i pro prostory AcademieIstropolitany, eskoslovenskho velvyslanec-tv v Moskv, v lznch Dudince, ve vstupn ha-le kulturnho domu v Bansk Bystrici a v dal-ch interirovch prostorech Slovenska. Vt-inu tchto prac realizoval Vclav Cigler s ko-lektivem elektrotechnickch odbornk z bra-tislavsk vysok koly, jimi byli doc. Ing. OttoBerger, CSc., doc. Ing. Pavol Vaj, CSc., doc. Ing. Jn iaran, CSc., doc. Ing. Peter Kotras, CSc. a Ing. Jn Homola. Jednm z hlavnch tmat tvor-by Vclava Ciglera se stalo prodn prosteda lidsk otisk v nm. Od samho potku 60.let navrhuje krajinn projekty, je vychzej zesoukromho j, definovanho fenomenolo-gicky prostednictvm smysl. Vytv sfrickobjekty, svteln sloupy a vodn plochy, geo-metrick kvtiny a zahrady rozumu v podobsfrickch prostor nebo tvar, model i for-mou prostorovch vah o krajin. lovk jakoobdoba toho a onoho postupn vstupujedo autorovch vdomostnch pol. Jeho pro-storov intuice se sousteuje na hledn no-vho smyslu. Nae ptomnost je zde dokla-dem zviditelnn poetickch svt odlinchod ostatnch vjem ve smyslu obsahu, vzna-mu a posln. Uvd ns do prostorovch si-tuac, kter vnmme zrakem a dalmi smy-sly, a pitom zakoume takka nepostiiteln

Vclav Cigler, zber do intalcie vstavyVclav Cigler, view of installation

tlak, jen se prostr mezi objekty a nmi sa-mmi. Voda podobn jako svtlo jsou pro Vc-lava Ciglera nositel symbolickch vznama zrove vyjadovacmi prostedky. Symbo-lick se stv pedmtem promovn, vodave sv fluidit a ve spojen se svtlem, je jprochz a lom se, m se sklem hodn spo-lenho. Vodn hladina (2009), projekce Vor(2007), Svteln krychle (2012), Svtelnlinie (2011).Od konce padestch let se Vclav Cigler vesv vtvarn prci vnuje sklenn plastice.Od objekt vychzejcch z tvaroslov prod-nch oblzk a valoun pes stylizovan mu-sk a ensk princip dochz k vejcovitmutvaru. Stejn tak se jeho dlouhodobou inspi-rac stv vesmrn prostor, z kterho vychzutopicko-vizionsk architektonick projekty,zejmna v navrhovanch eench prostoro-vch jednovrstvch nebo vcevrstvch struk-tur s naviganmi systmy, je by fungovalyjako formy spornho bydlen. Fascinace ves-mrem i v souvislosti s prvnmi lety do vesmrua s budovnm meziplanetrnch laboratoinspirovala Ciglera stejn intenzivn jako po-zorovn mezifz Msce nebo organickchprodnch tvar, jako istota ve smyslu nej-vnitnj konstrukce pedmtu, jev, zkoni-tost od prost hmoty a po kosmick zdrojeenergie, svtlo, zakiven prostory a hmotuorganizovanou gravitac. Instalace v Galerii19 naznauje soubor udlost, kter ji pro-bhly. Postupn odkrv situace, kter zn-me z kadodennho ivota, pat mezi naesmyslov poznvn, ivotn rytmy jako dch-n, tep srdce, procesy v mozku, ukldn do

pamti, vzpomnn a potebu zachovvnpocit, mylenek a vjem. Nen ohranienaani z jedn strany, oivujc vzpomnky nikdynejsou pesnm zachycenm proit reality,vdy jsou do urit mry petveny v zvislos-ti na emonm rozpoloen v jednotlivm oka-miku. Provokuje a osvobozuje nai obrazo-tvornost v celku. Intenzita Svteln linienarst a smuje divka po schoditi na-horu do hlavnho vstavnho prostoru k e-en hladin, pes oteven prostor prhle-dem ve stejnm ase vnmme sten mi-zen Svteln krychle. Sklenn Svtelnkrychle, 2012, je srdcem vstavy. Prostorovrozloen svtlo vzneen nehmotnho, tich-ho, tm prhlednho objektu se zjevuje,osluje msto spolenho setkn a uhasn.Pechod z hmotnho svtla, kter se std s polostnem, trv v ptomnosti. Abstraktnexaktnost geometrickch tvar a souasn je-jich jemn smyslovost jsou pznan vyjado-vac prostedky Vclava Ciglera, pomoc nichns zasvcuje do skutenosti relnho nebozpoetizovanho skutena a pipravuje pro ns,divky, podivuhodn vizuln a poetick se-tkvn se ve svt vnitnho du svtla, vody,barvy, hmatu, vn a ticha.Tato vstava je rovn dokladem spoluprceVclava Ciglera s Michalem Motykou jak vesmyslu vsledn koncepce, tak i realizac jed-notlivch prac. Dalmi vznamnmi spolu-pracovnky jsou Jan Frydrych, jak to dokazujobjekty z optickho skla, a Martin Vian, kterobjekty technicky rozsvtil.

Jana indelov

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Vclav Cigler, zber do intalcie vstavyVclav Cigler, view of installation

54

Art is a self-initiation ceremony. Vclav CiglerThe exhibition of the work of Vclav Cigler en-titled Here Again at Gallery 19 in Batislava isa kind of nostalgic return to the places of theacademic period of encounters, recollecti-ons and emotions undeniably falling withinthe wider context of the substance of Ciglerswork as represented by five principles: space,water, light, the individual and glass. Spaceand glass become means of communication,water and light symbolise the basic elementsof life, and Ciglers entire oeuvre is pervadedby the essential unity of man and space. Ci-gler has a special gift, a kind of feeling forspace, the need to transform matter not intothe form of an object but into a method ofexistence by entering the process and intro-ducing the viewer to spatial situations. Howe-ver, poetry is the natural essence of his workand discovering it means getting to know theproperties of grass, water and clouds, defi-ning the tectonic properties of stone, the con-struction possibilities of a tree trunk, a steelgirder, estimating the possibilities of new ma-terials and deciding how they are to be used.The properties of materials can either be re-spected or transformed by stipulating newcomponents and relationships in chemical orphysical processes. Poetry is not only the ad-miration resulting from familiarity: poetry isthe ability to change. Poetry is the zero pointof each creative act, be this in science or inart. At his exhibition Here Again Cigler re-minds his Bratislava friends and the generalpublic of his activities 48 years on from beingasked by the Academy of Fine Arts and De-sign in Bratislava to b come founder and di-rector of a Glass in Architecture studio. His

school was a laboratory of thinking, an expe-rimental workshop, an environment for self-knowledge. Alongside his teaching activitiesCigler remained committed to his own cre-ative work. This 14-year long academic periodis commemorated HERE in the form of a pro-jection of the implementation of illuminatedobjects for the building of the Slovak NationalTheatre, the light composition at the KnightsHall and several other places in BratislavaCastle, the lighting for the new building of theSlovak government, as well as for the premisesof Academia Istropolitana, the CzechoslovakEmbassy in Moscow, the spa town Dudince, theentrance hall of the building of culture in BanskBystrica, and other interiors spread around Slo-vakia. Cigler realised most of these projects incollaboration with a team from the Slovak Uni-versity of Technology in Bratislava comprisingOtto Berger, Pavel Vaj, Jn iaran, Peter Kotrasand Jn Homola. One of the main themes in Ci-glers work is the natural environment and thehuman imprint left on it. Since the start of the1960s he has been designing landscape pro-jects based on the private I defined pheno-menologically by means of the senses. Hecreates spherical objects, light pillars andaquatic surfaces, geometrical flowers andgardens of reason in the form of sphericalspaces or forms, models, or in the form ofspatial reflections on the landscape. The in-dividual as the analogue of this and thatgradually enters into the artists knowledgefields. His spatial intuition focuses on the se-arch for a new sense. Our presence is hereevidence of poetic worlds being made visiblethat differ from other perceptions in terms ofcontent, significance and function. This intro-

Supplementary text to the exhibition VCLAV CIGLER Here again

duces us to spatial situations that we per-ceive with our sight and other senses, whileat the same time experiencing an almost in-tangible pressure that spreads out betweenthe objects and us. For Cigler water andlight possess symbolic significance as well asexpressive possibilities. Symbolically they be-come the subject of transformation. By virtueof its fluidity, and in the combination withlight that passes through it and is refractedby it, water has much in common with glass.Water Level (2009), Raft (2007), Light Cube(2012), Light Line (2011).Since the end of the 1950s, Vclav Cigler hasfocused on glass sculptures. From objectsbased on the morphology of natural pebblesand boulders via the stylised male and fe-male principle, we arrive at the ovoid shape.Another long-term source of inspiration is ou-ter space, on which Cigler bases his utopic vi-sionary architectural projects, especially inhis designs of single or multilayered spatialstructures with navigation systems that wouldfunction as forms of energy-efficient accom-modation. His fascination with the universe,the first space flights and the construction ofinterplanetary laboratories inspired Cigler asintensively as observations of the Moonsphases or organic natural forms, as purity inthe sense of the most internal constructionof objects, phenomena, rules from simplematter to the cosmic source of energy, light,curved spaces, and the matter organised bygravitation. The installation in Gallery 19 hints at a seriesof events that have already taken place. Itgradually reveals situations that we recognisefrom everyday life. They belong among our se-

nsory perceptions, the rhythms of life such asbreathing, the heartbeat, processes in thebrain, storage in the memory, recollectionsand the need to preserve feelings, ideas andperceptions. There is no boundary on any side.Retrieved memories are never a precise de-piction of lived reality. They are always to a certain extent reshaped depending on ourframe of mind at any one moment in time. Ci-gler provokes and liberates our imagination asa whole. The intensity of Light Line increasesand directs the viewer up a staircase into themain exhibition space and to Rippled Sur-face. Via an open space and an aperture inreal time we perceive the disappearance ofLight Cube. The glass Light Cube (2012) is theheart of the exhibition. The spatially spreadlight of the loftily intangible, silent, almosttransparent object appears, dazzles the loca-tion of the encounter and fades. The transi-tion from the material world, which alternateswith half-shadow, persists in the present. Theabstract precision of geometrical shapes andtheir subtle sensuality are characteristic ex-pressive resources of Cigler, using which heinitiates us into the truth of real or poeticisedreality and prepares for us a remarkable vi-sual and poetic encounter in the world of theinternal system of light, water, colour, touch,smell and silence.This exhibition is also an illustration of the co-operation between Vclav Cigler and MichalMotyka, both in terms of the overall concep-tion and the realisation of individual works.Other important collaborators are Jan Frydrych,as can be seen in objects made from opticalglass, and Martin Vian, the lighting technician.

Jana indelov

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Sprievodn text k vstave MILO TOFKO Voyeurizmus

Ke som si vateliri Miloa tofka, ktor prie-storovo zodpoved mierke jeho objektov, po-zrel jeho Absurdopletizmy zroka 1993, Di-zajn-Dasein zroka 1994, Rovnak ain zro-ka 1995, Simulakrum zroka 1999 aVoyeur-izmus zroka 2013, na prv pohad mi bolojasn, e mm pred sebou osi dvern, dsa poveda a slovnkovo dverne znme. Na-zval som si to vprvom momente faktrami,truktrami atextrami. Vetky tie plety, -ple-ty, plet-iv, plet-i, plet-ky, splet-ence, roz-plet-ence, po-plet-ence, absurdo-a-voyeuro-plet-ence, dizajnodazajno-plet-ence, simulakro--plet-ence maj faktru pletiva, splietaj ave-dome inevedome sa preplietaj s niami,tkanivami, pletivami. Zakladaj ich zhyby,Deleuze tak nazval svoju kniku - Le Pli,Die Falte, Zhyb. Zhyby vytvraj uzlkyauzly, skladaj sa, s plicare azahbaj sa,s plica, s to komplikcie, ako by povedalMiroslav Petek vo svojich dodnes krsnychminiatrach, ktor vydal spolu sRudolfomFilom vroku 2003 pod nzvom Obraz aslovouKaliho Kertsza Bagalu. Je nm jasn, epo tchto filozofickch miniatrach u muby vetky ostatn miniatrne objekty len iro-nick asebaironick, tak ako s ironick ase-baironick aj tofkove pletiv a pletence. In-terferuj, vzjomne sa prelnaj aprepleta-j. As dverne znmou minimalistickou hrousri opakovan, pri ktorch s zaujmavnajm nuansy, jemn rozdiely medzi jednotli-vmi sekvenciami, kde sa ako sa ndejajfilozofi vokamihu uzvierky tvoria vznamy.Prv pohad na tofkove objekty je teda po-hadom na hru faktr, truktr a textr, zaloe-n na opakovaniach arozdieloch. Takto vn-mame srie opakujcich sa vonkajch hlad-

kch plch jednotlivch schrnok, rovnakhotkaniva na ich povrchu, rovnakch trhln, kto-rmi nazerme do rovnakch vntornch zrka-diel, priom rozdiely jednotlivch sri s danrozlinmi farbami, odlinmi textami aroz-dielnymi zrkadliacimi sa tvrami tch, o ta-j jednotliv texty. Druh pohad je vak spomienkou. Na detstvo.Na detsk katule, neskr stavebnice, vitrnya herbre, zpalkov katuky, ale aj na det-sk prstroje, krytlky, merkury, leg ainskladaky. Na detsk kaleidoskopy, kukt-ka adiaprojektory, na svet nekonench per-mutci, rozkladania askladania, robenia ne-poriadku zporiadku aporiadku z neporiadku.Ten poriadok bol zvltny znamenal opako-vanie toho istho, nekonen vytvranie tohoistho obrzku, puzzle, plnovanho prstrojaa stroja, modelu, ale aj monos vytvori novmesto, zloen z novch, vlastnch budov, ob-chodov, ulc, kriovatiek. Dali sa do nich vne-koniacich sa hrch vklada nov prbehy,ktorch fascinciu poznaj len deti. Zname-nali ajrados zrozbjania zhotovench miest,strojov, obrzkov, projektov, ich znienie, aleaj nov uloenie do katule, vitrny, herbra,ktorm sa znovu nastooval aksi latentn po-riadok zpvodnch segmentov a ucelenchobrazcov auchovval pre alie potencilnehry ainovcie. Je vtom osi hlboko uspokoju-jce, lebo popri vetkom rozblznen avytv-ran chaosu diea znovu objavuje, znovu ob-novuje a znovu vytvra poriadok. Tto vlast-nos maj aj tofkove objekty-modely. Na-priek irnii asebairnii, ktor je vlastnosoudospelch, s vdy aj rune zhotovenmi mo-delmi, aprinaj vdnenom svete ahko vir-tulne skontruovatench objektov a intal-

ci rados z detskch hier, z modelovania,utvrania sveta, ktor m ete stle znesite-n mierku aznesiten nedostatky, lebo je le-pen, hloben, pilovan, vytvran rune. Jeto aj svet kaleidoskopu, tejto detskej hrakydevtnsteho storoia. Rob prve svoju dru-h kariru ako to, o ide proti srsti dejn ampodobu benjaminovskej brikole. Ako to, mmeme zatrias, ao me zatrias nami.Alebo aby som sa ete raz odvolal na Miro-slava Petka ako to, o nm umouje vi-die svet antologicky, ete stle singulrne,jednotlivo, aleu aj ako ist vber,kombin-ciu a usporiadanie sveta, ktor vak ete vdynie je uzavret do veobecnch pojmov, vzor-cov, stereotypov.Aje tu ete tret pohad. D sa zhrn vetou,ktor poznme ako Nietzscheho motto zChris-tiana Morgensterna, ktor pripsal svoje ibe-nin bsne dieau vmuovi. Dieau-voyeu-rovi, ktor sa pozer dnu, do arovnhosveta, anevie ete, i je ten lovek vzrkadleza pretrhnutm pletivom on alebo niekto in,i sa pozer na seba alebo na niekoho in-ho, alebo niekto in naho, i sa pozer dnualebo von, do intalcie alebo z intalcie, istopa fotoapartu ako oka aoka ako fotoapa-rtu je stopou jeho alebo tofkovho oka sfo-toapartom. To diea nevie, o ostane akostopa jeho oka vzrkadle, ak tam len nie svetky tie nzvy apomenovania, ktor im pri-sudzuje Milo tofko. Diea nevie, anemusvedie, i ide omoment zdvojenho pozoro-vatea, ako nazval tento romantick pohadHans Ulrich Gumbrecht, diea sa jednoduchopozer abav. Nem strach, lebo svet Miloatofka nie je nebezpen, ale v podstatetuln, upratan ausporiadan, aj ke posplie-

tan atak trochu aj popleten. Vtomto saMilo tofko pona na zajakavho bsnikaMarina Kubicu a jeho bse i..ku..lov ..mier (s .. Mihalkoviom) .. :

Z .. bvalch .. bojov .. / Nm .. zostali ..Bje .. /Za ktor .. sa .. /Neplva ../

Nebojte sa, ani sMiloom tofkom nebudeteplva za bje. Lebo zdadaizmu uho ostalovo faovej pote toto:

De-sivodddd-slednchoddo-bovddebibiddiskurzlizddaz-vanmus.Fen-omen-lnekafemin-ist-ickysafalo-krat-ickmiti-kutkaka.Had-magmie-stonosumel-ca/umrl-ca.tik.

Nechajme Miloa tofka splieta slov aspria-da ich nitky do tkaniva, plnho deravch k.Asksme sa pozrie na vetky tie katule,stavebnice, vitrny spontnne detskm, fakt-rami, truktrami atextrami nezaaenmpohadom. Meme si pritom pokojne pred-rieka: En-ten-tiky-dva-pen-dlky-vyletel-ert-z-elektriky-bez-klobouka-bos-urazil-si-nos. Na-pokon sa aj tak dostaneme kpvodnej otz-ke Jiho Valocha: A co kdy Milo tofko za-touil jet jednou udlat dlo ryze vizuln,cojvm, teba ikrsne? Co kdy mu nae v-klady poslou jako alibi pro to, aby mohl jetjednou udlat dlo ryze vtvarn? Oprvnenotzka, ete oprvnenejia ako vroku 1999pri tofkovej vstave Simulakrum vtrnavskejsynagge.

Peter Zajac, jn 2013

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Supplementary text to the exhibition MILO TOFKO Voyeurism

When Iwas in the studio of Milo tofko andsaw that it spatially corresponds with the sizeof his art work and when I had achance to seehis art work Absurdopletizmy (1993), Dizajn-dasein (1994), Same and Different (1995), Si-mulakrum (1999) aVoyeur-ism (2013), it wasabsolutely clear to me Isee something perso-nal, something one could say lexically fa-miliar. In the first moment, Ihave named itinvoices, structures, and textures. All those twi-ddles, twi-nes, twi-rles, and twi-sts have ane-twork structure; they inter-twine and consciou-sly and unconsciously intertwist they are thre-ads, fibres, nets, twists, and plaits. They aremade of folds. Deleuze named his book thatway: Le Pli, Die Falte, Fold. Folds create knotsand knots can be weaved (plicare) or they canbe bent (plica). Miroslav Petek would eventoday in his beautiful miniatures published to-gether with the work of Rudolf Fila in 2003under the name APicture and a Word in thepublishing house of Kali Kertsz Bagala saythat these are complications. It is evident tous, that these philosophical miniatures can befollowed only by tofkos ironically full and re-flective sense (sometimes unconsciously) ofself-irony. They interfere, intersect, and inter-twine. And they are a confidentially known mi-nimalistic play of a repeating series which areinteresting because of the nuances, the smalldifferences between individual sequenceswhere as the philosophers were hoping themeaning starts to exist. The first look at tofkos objects is a look at theplay of structures and textures based on repeti-tion and differences. In such a way we perceivethe series of repeating external smooth surfacesof individual boxes, of identical textures on theirsurface, of identical cracks through which we

can look into the identical internal mirrors, whilethe differences between individual series arebased on different colours and texts, but also onthe mirrored faces of those reading these texts.The second look is just a memory. Memory ofa childhood. Memory of boxes, packets, andlater of cases and herbariums, matchboxes butand children labs, microscopes, small crystals,boxes of bricks, Legos and other toys. Memo-ries of childrens kaleidoscopes, opera-glasses,projectors, of the world of never-ending permu-tations, disintegration and integration, of ma-king a mess from order and order from a mess.The order was strange it was just the repeti-tion of the very same items, never-ending crea-tion of the same picture, puzzle, planned equip-ment or machine, but also a chance to createa new town composed of new shops, streets,and crossroads from the same panels. Du-ring the never-ending games it was possible toinsert new stories into them. Only kids knowof the fascination it brings. They also know thejoy from smashing towns already built, machi-nes, pictures, projects their destruction butalso the return to the original state to theorder in the box, case, and herbarium. In sucha way some kind of latent order was restoredfrom original segments and compact picturesthat saved further potential games and inno-vations. There is something deeply satisfyingin this process because all the madness andcreation of chaos brings new inventions andnew orders to a child. tofkos objects-modelshave the same characteristic. Despite theirony and self-irony which belongs to the worldof adults, they are also hand-made modelsthat bring joy from childrens game, modellingand the creation of a new world into todaysworld of easily and virtually built objects.

Thanks to that, the world still has bearable me-asures and bearable insufficiencies becauseit is glued, carved, rasped, and handmade. It isalso a world of kaleidoscope the toy of the19th century that made its fortune as some-thing that goes against the fur of history in theform of Benjamins bricolage. As something wecan shake and what can shake with us. Or sothat I can mention Miro