Archive 2021 KubaParis

soft sorrow

exhibition view
exhibition view
soft sorrow (in my dreams), silkscreen on PMMA, paper, 27 x 27 x 27 cm, 2021
soft sorrow (in my dreams), silkscreen on PMMA, paper, 27 x 27 x 27 cm, 2021
detail, soft sorrow (in my dreams)
detail, soft sorrow (in my dreams)
detail, soft sorrow (in my dreams)
detail, soft sorrow (in my dreams)
exhibition view
exhibition view
after all (1), polyethylene, 210 x 430 x 20 cm, 2020/2019
after all (1), polyethylene, 210 x 430 x 20 cm, 2020/2019
detail, after all (1)
detail, after all (1)
exhibition view
exhibition view
burial soil, silkscreen on LDPE sheet, variable dimensions, 2021
burial soil, silkscreen on LDPE sheet, variable dimensions, 2021
detail, burial soil
detail, burial soil
exhibition view
exhibition view
patron (dog), Acrylonitrile-Styrene-Acrylate (ASA), 41 x 18 x 18 cm, 2021
patron (dog), Acrylonitrile-Styrene-Acrylate (ASA), 41 x 18 x 18 cm, 2021
exhibition view
exhibition view
soft sorrow (in McDonalds), silkscreen on PMMA, paper, 27 x 27 x 27 cm, 2021
soft sorrow (in McDonalds), silkscreen on PMMA, paper, 27 x 27 x 27 cm, 2021
detail, soft sorrow (in McDonalds)
detail, soft sorrow (in McDonalds)
patron (Regan of The Exorcist), Acrylonitrile-Styrene-Acrylate (ASA), 43 x 18 x 18 cm, 2021
patron (Regan of The Exorcist), Acrylonitrile-Styrene-Acrylate (ASA), 43 x 18 x 18 cm, 2021
exhibition view
exhibition view
patron (bat), Acrylonitrile-Styrene-Acrylate (ASA), 38 x 18 x 18 cm, 2021
patron (bat), Acrylonitrile-Styrene-Acrylate (ASA), 38 x 18 x 18 cm, 2021
Hard Spirit (2), solid glass, 7,5 cm x 20 x 16 cm, 2021
Hard Spirit (2), solid glass, 7,5 cm x 20 x 16 cm, 2021

Location

Dům umění města Brna / House of the Lords of Kunštát / G99, Brno

Date

06.12 –22.01.2022

Curator

-

Photography

Jan Kolský

Subheadline

Martin Maeller SOFT SORROW Dům umění města Brna / House of the Lords of Kunštát / G99, Brno 8. 12. 2021 – 23. 1. 2022

Text

Whatever happened to the mystery of Death? It seems I’m searching in all the wrong places. Diving deep into collective reminiscences and popular imagination. Walking through the great sand covered tombs with gilded sarcophaguses, digging through frozen soil and excavating skeletal remains of long evaporated souls. Casually strolling through old, oh, so outdated natural history museums with artificially recreated pillars, architraves, friezes and cornices, I’m trying to grasp the mythical promises of life eternal. Tutankhamun’s glory, based solely on the riches of his elaborate burial site; Sha-Amun-em-su, the “Songstress of the Sanctuary of Amun”, engulfed in the fire of the National Museum in Rio de Janeiro; Ötzi, the Tyrolean Iceman, found in the snowy mountaintops of high Alps, with an arrow in his side, famed as an argument of one psychologist to prove that our ancestors lived in constant conflict.  How to deal with the elusive nature of Death? Does it belong to the soft embrace of the soil? Do you engage in a game of chess with the Grim Reaper? Do you hide under the veil of invisibility? Do you transfer your consciousness to a complex quantum processor, so it can be one day bestowed on to another corporeal form?  I find myself utterly lost in vague, yet premeditated attempts to localize such an eternal, ungraspable entity. Only symbols are left to toy with. A canopy, a gravestone, a tomb. All so simple, yet marvelous in its ingrained obviousness. Yet, all those are but tokens of the strayed search.  The only thing that remains tangible is sorrow aimed at those who passed away. Painful, piercing sensation which only Time, that fleeting slippery trickster can heal. “Then Helen, daughter of Zeus, took other counsel. Straightway she cast into the wine of which they were drinking a drug to quiet all pain and strife, and bring forgetfulness of every ill.” Jen Kratochvil

Jen Kratochvil