Dnes je. Zajtra bude
Today Is. Tomorrow Will Be
2019, Arta, Piešťany
Linda Blahová, Zuzana Branišová, Roman Gajdoš, Lucia Kotvanová, Ema Lančaričová, Erik Michalčík
Nájdená výstava. Jadro umeleckého projektu Dnes je. Zajtra bude
Jadrom a východiskovým bodom umeleckého projektu Dnes je. Zajtra bude je tzv. nájdená výstava, ktorá vznikala na základe voľne prichádzajúcich asociácií. Mnohé priestorové situácie a náhodné zoskupenia predmetov, ktoré zostali v interiéri ako reziduá po minulých nájomníkoch, pripomínali svojou kompozíciou umelecké diela známych umelcov. Rozhodli sme sa preto nezasahovať do priestoru vytváraním nových objektov či umeleckých inštalácií, ale privlastniť si výtvarný jazyk Kabakova, Bourgeois, G. Orozca a i.
Inštalácie a environmenty asociujúce umelecký jazyk a výtvarné postupy „svetových“ umelcov sú zostavené z objektov, ktoré spolu fungujú iba v čase projektu. Temporalita, apropriácia situácií či akt voľby a vyčlenenia môžu viesť k elementárnym otázkam čo je umenie, čo všetko za umenie považujeme, ako umenie vzniká a pod.
Bez konceptu. (Ne)pamäť. (Ne)objekty. Asociácie a hľadanie súvislostí
Do budovy bývalého piešťanského Figara sme neprišli s presne stanoveným konceptom. Skôr sme vchádzali dnu s vedomím, že daný priestor bude disponovať viacerými nánosmi, ktoré zanechala minulosť a ktoré sa stanú východiskom pre spoločný projekt Dnes je. Zajtra bude.
Opustené miestnosti, ponechaný naakumulovaný nábytok, rozličné predmety, ťažko identifikovateľné fragmenty, vyschnuté kvety, zanechané oblečenie na vešiaku v kuchyni... to všetko sú obrazy, ktoré sú typické pre väčšinu opustených prevádzok. Prechádzaním interiéru ma sprevádzal silný pocit už videného, vychádzajúci z dávnejšej prehliadky opustenej administratívnej budovy bývalej TAZ-ky (Trnavské automobilové závody). Akoby konce prinášali vynulovanie charakteristických čŕt, ktoré definovali čisto funkčné priestory kancelárií, výrobní, kuchýň, jedální a tried. Po konci sa vytvorí akási univerzálna situácia majúca zjednocujúci vizuálny charakter. Až jej dekonštrukcia môže odkryť špecifiká miesta a s ním spojenú pamäť.
Práca s pamäťou znamená obrat k minulosti, ktorý niekedy bráni pohľadu do budúcnosti a dokáže značne ovplyvniť aj prítomnosť. O projekte teda zámerne neuvažujem ako o reprezentácii pamäti. Namiesto toho vnímam celý projekt ako situáciu špecifického miesta (situation-specific art) zbavenú času a pamäti.
Procesuálne asociatívne tvorenie a kolektívne autorstvo
Dôležitým momentom je práca na formovaní projektu v zmysle kolektívneho autorstva a bez vopred stanoveného konceptu. Smerovanie projektu ukázala až situácia vnútri, ktorá spontánne spustila asociácie. Tvorili sme ako kolektív v procese; počas chôdze, v pohybe sme vnímali priestor, kde myšlienka jedného participanta automaticky podnecovala uvažovanie ďalšieho. Pracovali sme (a aj pracujeme) s neuzatvoreným konceptom, kde namiesto tradičnej výstavy predstavujeme akúsi intelektuálnu hru založenú na prelínaní umeleckého a neumeleckého, reálneho vs. vymysleného, stabilného a nestabilného.
Vďaka edukačnej vrstve získava projekt Dnes je. Zajtra bude procesuálny charakter; t. j. privlastnené inštalácie (environmenty) sa menia v závislosti od aktuálnej, nepredpokladanej okolnosti modelovanej počas eventov.
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Found Exhibition. The Core of the Artistic Project Today Is. Tomorrow Will Be
We entered the building of the former Figaro factory in Piešťany without a clearly defined concept. Rather, we walked in with the awareness that the space would contain many layers left by the past, which would become the basis for the collaborative project Today Is. Tomorrow Will Be.
Abandoned rooms, accumulated furniture left behind, various objects, barely identifiable fragments, dried flowers, clothing left hanging in the kitchen… all of these are images typical of most abandoned spaces. As I walked through the interior, I was accompanied by a strong sense of déjà vu, stemming from an earlier visit to the abandoned administrative building of the former TAZ (Trnava Automobile Factory). It’s as if endings bring about an erasure of the defining features that once characterized purely functional spaces – offices, workshops, kitchens, dining rooms, classrooms. After the end, a kind of universal situation emerges with a unifying visual character. Only through deconstruction can the specificities of the place and its associated memory be revealed.
Working with memory means turning toward the past – a turn that can sometimes obstruct our view of the future and heavily influence the present. I therefore deliberately do not approach the project as a representation of memory. Instead, I perceive the entire project as a situation-specific artwork, stripped of time and memory.
A key aspect is the formation of the project through collective authorship and without a predetermined concept. The direction of the project was revealed by the space itself, which spontaneously triggered associations. We created collectively, in process; while walking, in motion, we perceived the space where one participant’s thought naturally sparked the reflection of another. We worked (and still work) with an open-ended concept, where instead of a traditional exhibition, we present an intellectual game built upon the blending of art and non-art, real versus imagined, stable and unstable.
Thanks to its educational component, Today Is. Tomorrow Will Be gains a processual character – that is, the appropriated installations (environments) transform depending on current and unforeseen circumstances shaped during events.
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The core and starting point of the artistic project Today Is. Tomorrow Will Be is the so-called found exhibition, which emerged from freely flowing associations. Many spatial situations and chance groupings of objects left behind by previous tenants resembled, in their composition, artworks by well-known artists. We therefore decided not to intervene in the space by creating new objects or installations, but rather to appropriate the visual language of artists such as Kabakov, Bourgeois, Gabriel Orozco, and others.
Installations and environments that evoke the artistic language and methods of “world-renowned” artists are composed of objects that only function together within the timeframe of the project. Temporality, appropriation of situations, and the act of choosing and isolating elements may lead to fundamental questions such as: What is art? What do we consider to be art? How does art come into being?
Without Concept. (Non)Memory. (Non)Objects. Associations and the Search for MeaningInstallations and environments that evoke the artistic language and methods of “world-renowned” artists are composed of objects that only function together within the timeframe of the project. Temporality, appropriation of situations, and the act of choosing and isolating elements may lead to fundamental questions such as: What is art? What do we consider to be art? How does art come into being?
We entered the building of the former Figaro factory in Piešťany without a clearly defined concept. Rather, we walked in with the awareness that the space would contain many layers left by the past, which would become the basis for the collaborative project Today Is. Tomorrow Will Be.
Abandoned rooms, accumulated furniture left behind, various objects, barely identifiable fragments, dried flowers, clothing left hanging in the kitchen… all of these are images typical of most abandoned spaces. As I walked through the interior, I was accompanied by a strong sense of déjà vu, stemming from an earlier visit to the abandoned administrative building of the former TAZ (Trnava Automobile Factory). It’s as if endings bring about an erasure of the defining features that once characterized purely functional spaces – offices, workshops, kitchens, dining rooms, classrooms. After the end, a kind of universal situation emerges with a unifying visual character. Only through deconstruction can the specificities of the place and its associated memory be revealed.
Working with memory means turning toward the past – a turn that can sometimes obstruct our view of the future and heavily influence the present. I therefore deliberately do not approach the project as a representation of memory. Instead, I perceive the entire project as a situation-specific artwork, stripped of time and memory.
Processual, Associative Creation and Collective Authorship
A key aspect is the formation of the project through collective authorship and without a predetermined concept. The direction of the project was revealed by the space itself, which spontaneously triggered associations. We created collectively, in process; while walking, in motion, we perceived the space where one participant’s thought naturally sparked the reflection of another. We worked (and still work) with an open-ended concept, where instead of a traditional exhibition, we present an intellectual game built upon the blending of art and non-art, real versus imagined, stable and unstable.
Thanks to its educational component, Today Is. Tomorrow Will Be gains a processual character – that is, the appropriated installations (environments) transform depending on current and unforeseen circumstances shaped during events.
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