Môj prvý kontakt s dielom Tomáša Moravca bol celkom nezámerný a náhodný. Dokonca som vtedy ani netušila, že sa jedná o „umenie” a tak som sa na danú vec aj pozerala – bolo to jednoducho výborné virálne video, ktoré viedlo ten deň rebríček popularity na komunitnom serveri kyberia.sk. Vo videu neznámy mladík postojačky brázdil ulice Bratislavy na netradičnom dopravnom prostriedku – europalete s koliečkami, a vozil sa po električkových tratiach. Zaujímalo ma hlavne, čo na to policajti. Plán bol, že si taký vozík zostrojím tiež, pozrieť do popisu videa ma vtedy v závale práce ani len nenapadlo.
Vernisáž 15. 3. 2013 o 17.00, výstava potrvá do ± 12. 4. 2013.
S Tomášom Moravcom (1985. Praha) – mladým českým umelcom, som sa osobne stretla o tri roky neskôr, keď v januári 2012 otváral svoju výstavu v olomouckej mini-galérii na ulici Vitrína Deniska. Predstavil tu dielo, ktoré fungovalo nielen z pohľadu insidera súčasného umenia, ale aj pre kohokoľvek, kto išiel náhodou okolo – stačilo len trocha pozornosti. Výklad (teda galerijný priestor) bol zakrytý hrubými drevenými latami, z ktorých jedna bola deravá. V diere mohol okoloidúci objaviť video záznam, evidentne staršieho dáta, natočený presne na tom mieste, kde práve stál. Bol to vystrihnutý a zaslučkovaný záber na bitku húfu chlapcov z chronicky známeho filmu Záhada hlavolamu. Ulica sa vo filme (rovnako ako v jeho literárnej predlohe od Jaroslava Foglara) volala Rozdělovací, a tak sa volala aj Moravcova výstava. Namiesto úvodnej reči na vernisáži autor vykríkol pozdrav Vontov zo spomínaného filmu. Pár ľudí z davu návštevníkov mu spontánne odpovedalo.
Až na prezentácii tvorby Tomáša Moravca po vernisáži som pochopila, že sa jedná o mladíka z pojazdnej europalety, a že ho už vlastne poznám aj z finále Ceny Jindřicha Chalupeckého v roku 2008. A ako premietal svoje ďalšie diela, bolo jasné, že sa jedná o umelca s výnimočne vyrovnanou kvalitou tvorby – všetky diela boli premyslené, inteligentné a vtipné, a zároveň mali ďaleko od elitárstva, na ktoré sme pri súčasnom umení často zvyknutí. Okrem diel, ktoré pracovali s mestským verejným prietorom, ako dve vyššie spomínané práce, to boli diela radikálne transformujúce fyzické aj mentálne vlastnosti galerijného priestoru. A práve na túto časť jeho tvorby som si spomenula, keď sme sa rozhodli ho zavolať aj do Žiliny, do galérie Plusmínusnula.
Témou aj materiálom výstavy Prospekt je samotný priestor galérie. Priestorová inštalácia sa pohráva s typickým priehľadom do galérie zvonku, s hmotou na fasáde aj s ľudskou perspektívou pohľadu dovnútra. V prázdnom priestore galérie sa opakuje situácia z jej fasády.
Názov výstavy odkazuje k viacerým významom tohto slova – širokej veľkomestkej ulici, letáku, ale najmä vyhliadke a celkovému pohľadu.
Katarína Gatialová
Tomáš Moravec / Prospect
My first contact with the work of Tomáš Moravec was completely unintentional and coincidental. I did not even know then that it was the “art” and that’s how I looked at the whole thing – it was simply an excellent viral video which topped the day’s popularity ranking on the community server kyberia.sk. In the video an unknown youngster was cruising streets of Bratislava by unusual means of transport – a pallet with attached wheels and drove it along tram Iines. I was especially interested in what police thought about it. I got an idea to create such a vehicle too but, due to the amount of work, I completely failed to check the video description.
I personally met with Tomáš Moravec (1985. Prague), young Czech artist three years later in January 2012 when he was opening his exhibition at the Vitrína Deniska mini gallery in Olomouc. He presented the work which not only worked from the point of view of an insider of contemporary art but also for anyone accidentally passing by – only a little bit of attention was needed. The shop window (i.e. the gallery space) was covered with thick wooden battens and one of them had holes in it. In the hole, a passer-by could spot a video recording of older date recorded exactly on the spot where he/she was just standing. It was a cut out and looped scene of the fight among boys from the famous movie Záhada hlavolamu (“Mystery of the conundrum”). In the movie (as well as in the story written by Jaroslav Foglar) the street was called Rozdělovací (Parting) and this was also the name of Moravec’s exhibition. During the opening exhibition instead of opening speech the artist shouted the greeting of the Vonts from the movie. Several people from audience spontaneously replied.
It was only when presented with works of Tomáš Moravec after the opening exhibition that I realized this was the young man from the mobile pallet and that I actually had already known him from the Jindřich Chalupecký Award finals in 2008. As he was presenting his other works it became clear that this was the artist with exceptionally balanced quality of work – all his works were thoughtful, intelligent and witty and at the same time they were far from elitism which is so frequent in contemporary art. In addition to the works focusing on urban public spaces such as the two already mentioned there were works radically transforming both physical and mental qualities of gallery space. And when we decided to invite him to the Plusmínusnula gallery in Žilina, that was exactly the part of his work which I recalled.
The gallery space itself is both the theme and material of the Prospekt exhibition. The spatial installation plays with the typical view to the gallery from outside, with the façade mass and the human perspective of the view inside. Empty space of the gallery replays the situation from its façade.
The name of the exhibition is a reference to several meanings of the word – broad city street, leaflet and most importantly view and thorough perspective.
Katarína Gatialová
