Silverado / We drink to forget the coming storm

27. 9. –  20. 10. 2016

Silverado / WE DRINK TO FORGET THE COMING STORM

Skupina Silverado, pohybující se na hranicích umělecké a kurátorské praxe, představila spolupráci se studenty Ateliéru malby Wojciecha Łazarczyka z Univerzity umění ve Štětíně. Autoři: Grzegorz Bożek, Marta Hryniuk, Agnieszka Kucharska, Maciej Nowacki, Marta Węglińska, Ola Zielińska.

About participating artists:

„We” refers to six people that are bonded by a common experience. The binds do not have to be very obvious yet they exist on a very elementary level. They derive from common ideals and from physical experience of togetherness. Dealing with the notion of image, dealing with time. The time collapses sometimes. How can one forget something that has not happened yet? How can one remember something one has never lived through? Taken the time is not linear, but rather multilayer, it allows things to happen in an achronological order. Taken the idea of a whole is utopian and authoritarian, is a fragmentary perception more appropriate?

About Silverado

Silverado is an independent artist’ run space dedicated to experimental activity within broad artistic and curatorial practices, founded in 2013 in Poznan (Pl). Our work depends on place and time, when working with a specific space we consider its character – both in the historical and contemporary context. We are a nomadic collective and the idea of Silverado may materialize anytime and anywhere. Silverado are Marta Hryniuk, Maciej Nowacki, Marta Węglińska.


Flatness.

Flatness allows us to imagine things in other dimensions, things that aren’t flat. Some forms can only be seen as a complete whole when rendered on a flat surface, take The Penrose triangle for example. On the flat surface everything seems to fit together. The lines in this drawing connect all three nodes of the three-dimensional triangular frame, its rendering is intricate and complete; so surely it could be easily constructed into an object? But when it manifests in space our vision collapses and it turns out to be an impossibility.

This phenomenon can be also observed in the process of conceiving and constructing an idea versus its final execution.

They often don’t see eye to eye.

Flat surface appears to be more suited to the presentation of notions.

Somehow, flat surface seems to be more appropriate to present ideas than facts.

It is said that the fourth dimension can be reached through a two-dimensional surface.

Isn’t De Stijl’s idea of using primary coloured rectangular forms – as in Mondrian’s paintings, where geometry spills over the frame – a projecting of image into reality?

It would suggest a concept of living in the image.

The case of form’s continuation into space.

Straight lines, surfaces, hard cuts and angles continue implicitly.

We occupy spaces organised by invisible lines.

A piece, a materialised fragment of a bigger idea, contains a potential to spread its rules into an entire environment. This imaginative whole can be perceived through a fragment.

Imagine moving between dimensions while walking through different rooms.

Your perception of the visible is constantly changing from two-dimensional into three-dimensional and in reverse.

It happens that you see part of the room as a flat surface and at the same time the rest of it seems to be spatial.

The space in between is where you feel the most confused, and yet everything is at its most vivid.

Matter of Time

“One can remember what Nietzsche has already said, that the one who belongs completely to his time, the real contemporary, is the one who does not coincide perfectly with it but defines himself as un-actual.”[1]

To draw from history is to search for specific moments in the past. These moments are sometimes able to manifest as a sudden glimpse, in the present. The present, which faces a speculative future can be defined through these glimpsed moments.

One could call it a practice of the tiger’s jump into the past, as presented by Walter Benjamin in his On the Concept of History essay.

To pick an object from the past and place it in a different time-frame. The objects bear the traces of a concrete history: “What do the couple on the old Chechoslovak banknote think of?” A man and a woman look upon the atom, they look towards a far future. We are one of their possible future.

Time can be considered as a fluid material that allows one to dive in its depths and freely take what is needed in order to formulate a statement.

Considering the notion of time in material terms makes it more accessible.

What would it mean to be an archaeologist of the future?

Endless process

Failure foreseen

Knowing that there is no end may provide release, but at the same time this cannot be an excuse not to deliver any intermediate resolution.

There has always been a strong desire to live amongst stories. One may draw a connection between an oral tradition of passing the stories from one to another and the contemporary phenomenon of watching TV series. Feeling affinity, feeling continuity, feeling submerged into a story that goes on and on, regardless of skipping an episode.

The perception of world as an on-going story corresponds with a nature of artistic practice of being in a constant process, in a process of processing and producing yet never finalising it, at least not fully. For the stories never end, they are interrupted and taken over by new ones and so on and so forth… The whole is incomprehensive, what is left is a fragmentary perception.

Little endings as points of departure for the next chapters.

[1] Hans Ulrich Obrist, a panel discussion “The Artist as Archeologist” as part of “Artistic Practice” series, Art Basel, 2015

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