Revista Umělec 2004/1 >> Subjective Patterns of Consumption Lista de todas las ediciones
Subjective Patterns of Consumption
Revista Umělec
Año 2004, 1
6,50 EUR
7 USD
Enviar la edición impresa:
Suscripción de orden

Subjective Patterns of Consumption

Revista Umělec 2004/1

01.01.2004

Vít Havránek | Entrevista | en cs

Jan Šerých’s contribution to the catalogue for the Zlínský Salon consisted of two photographic details of his Saab, model 900. For his exhibition in Černý pavouk in Ostrava, Šerých collected photographs of jet planes and from this collection he made large-format A1 prints. For several months Šerých gathered empty food packaging: bottles, detergents, milk cartons, butter boxes and from these he made an absurd, unspecific picture on the floor for an exhibition in a tower in České Budějovice. For Sleva 20% (20% Discount) he exhibited his own bed and one of his pictures. For a Malá Špálovka show he cut one-meter letters out of fabric and projected an abstract video near the entrance. I bring these up to free Šerých of the idea that he only works with geometry and paintings.
A search for a common thread, a uniting form or a basic visual feature will only end in failure. As such, he is exceptional, as one powerful lineage of Czech art is to develop talent and experience through the long-term, intuitive aesthetic cultivation of form. Now there are many exceptions to this tradition among the younger generation of artists. Clearly the roots of Šerých’s ideas are not connected to the antithesis of the subjective imagination, a tradition advocating objective methods of thinking and art by artists in the 1960s.
Even though there are external mimicries, his large canvases with fields of office color are closest to the objectivism of the 1960s. At first their flaccid colors evoke doubts within us. If we consider the compositions — the distance from which the stripes are set apart from each other, their width, direction, shape, and spacing, then, while comparing the many pictures, one gets lost in the chaos, and in the end observes the absence of a system. His paintings are best understood as the materially fundamental excesses of his drawing practice. This can be seen in the dozens of marker drawings he made by lining paper using rulers and colored markers. They are stripes, series composed of many stripe variations, causing a fanciful relaxation, like the doodling made while tied up on a long phone call. They respect the format of the paper and make use of the possibilities provided by the ruler.
For the key to Šerých’s works one needn’t look into the actual works themselves, but into what came before them and their sequence, which could be seen as a play list.
The difference between the arbitrariness of the 1960s, and the principles of casual choice that the contemporary generation chooses could be summed up in the word “random.” In the context of the 1960s, arbitrariness was connected to the principle of the objectification of the creative process. Cage speaks about the “inhumanity” of the creative process and about turning the mind towards the principles of comprehending nature (science) or the simple existence of nature. The function random select on CD players accurately expresses the choice of the contemporary artist. It shows “arbitrariness,” but applied to ready-made cultural material, whose aggregate is seemingly infinite. This is determined by a cultural-political-geographical framework on the one hand, and the artist’s interests on other side.
Today subjectivity is not based on de-subjectivity, as it is in the case of Cage; but in the center of attention there is a constructed subjectivity defined by features, and in such a connection “arbitrariness” sounds like a reference to the past, which deprives human imagination of the apparent dizziness from instability and the non-existence of any moral rules.
Šerých’s point of view is tied into traditions foreign to Czech art: his methods call to mind Frank Stella, Johna Armleder, Heim Steinbach, Sylvie Fleury. In the cultural space he orients himself according to several subjective experiences. He likes to drink and eat. He enjoys nice things. He is fond of love and sex. His job gives him pleasure — he makes his living as a graphic designer. And these are activities he thinks about, and he polishes their reflections into extremely shiny fragments of interest.
Šerých lives at ease, making carefree grabs into the streams of signs that flow around him and us. Coming from his subjective criteria, there is a breeze of cool emotions. Emotional and systematic objectivity. A Saab design, the masculine nature of jets planes, empty packaging… these are the signs that respond to the question of the importance of this artist’s activities. Their meaning shines through his compositions of used products, mixed with other signs. They have no substantial meaning in and of themselves, such as the title BLACK SABBATH, exhibited for the first time in Český Šternberk; in Malá Špálovka it transformed into ABBA, and in the Belfort show it was exhibited as LA BASTA. The work is unfinished with no definite meaning.
His abstract pictures work with the essence of the computer matrix, which does not perceive science as a combination of the two possibilities 0 and 1, but as a game made up of rules to organize the surface of the monitor.
From the instant world that encompasses all individuals, Šerých constructs his own note-taking apparatus, which is based on his own experience of creative consumption. It seems that with the expansion of globalization and unification, the more our unique individual worlds will melt into one wide channel of unified products, brands, slogans and ideas. But this notion is only optical. It is based on the indubitable facts of globalization, but it omits the substance of objects, connected into a subjective chain of consumption. Šerých’s personal patterns of consumption are what subjectively negate this unification, and transform it into a field of visualization and aesthetics.




Comentarios

Actualmente no hay comentarios

Agregar nuevo comentario

Artículos recomendados

Contents 2016/1 Contents 2016/1
Contents of the new issue.
Magda Tóthová Magda Tóthová
Borrowing heavily from fairy tales, fables and science fiction, the art of Magda Tóthová revolves around modern utopias and social models and their failures. Her works address personal and social issues, both the private and the political. The stylistic device of personification is central to the social criticism emblematic of her work and to the negotiation of concepts used to construct norms.…
Nick Land – An Experiment in Inhumanism Nick Land – An Experiment in Inhumanism
Nick Land was a British philosopher but is no longer, though he is not dead. The almost neurotic fervor with which he scratched at the scars of reality has seduced more than a few promising academics onto the path of art that offends in its originality. The texts that he has left behind are reliably revolting and boring, and impel us to castrate their categorization as “mere” literature.
African Vampires in the Age of Globalisation African Vampires in the Age of Globalisation
"In Cameroon, rumours abound of zombie-labourers toiling on invisible plantations in an obscure night-time economy."
04.02.2020 10:17
¿A dónde ir ahora?
fuera
S.d.Ch, Solitarios y Cultura Periférica   (una generación nacida alrededor de 1970)
S.d.Ch, Solitarios y Cultura Periférica (una generación nacida alrededor de 1970)
Josef Jindrák
¿Quién es S.d.Ch? Una persona de muchos intereses –activa en varios campos- la literatura, el teatro, conocida por sus cómics y sus collages en los campos del arte. Un poeta y dramaturgo principalmente. Un solitario por naturaleza y determinación, su trabajo no se encajona en las corrientes actuales. Siempre antepone la enunciación personal, incluso cuando su estructura interna puede volverse…
Leer más...
fuera
Revista THC: Revisitando el Condenado Pasado
Revista THC: Revisitando el Condenado Pasado
Ivan Mečl
¡Somos el quinto partido político global! Pítr Dragota ys Viki Shock, Fragmenty geniality / Fragmentos de carisma, mayo y junio de 1997. Cuando Viki llegó de visita, fue solamente para mostrarme algunos dibujos y collages. Sólo como un pensamiento tardío me mostró la publicación checa de finales de los noventa, THC Review. Cuando vio cuánto me fascinaba, le entró el pánico e insistió que…
Leer más...
prize
To hen kai pán (Jindřich Chalupecký Prize Laureate 1998 Jiří Černický)
To hen kai pán (Jindřich Chalupecký Prize Laureate 1998 Jiří Černický)
Leer más...
Dolores de parto
¿A quién le asusta la maternidad?
¿A quién le asusta la maternidad?
Zuzana Štefková
La pluralización de las definiciones de “madre“ es, a un tiempo, un lugar de represión recrudecida y de liberación potencial. (1) Carol Stabile Corría el año 2003 y una mujer en avanzado estado de embarazo estaba de pie al borde del camino en el matorral del bosque Lapák de Kladno. En el marco de la exposición Artistas en el bosque, los transeúntes podían vislumbrar el destello de su vientre…
Leer más...
Libros, video, ediciones y obras de arte que podrían interesarle Ir a la tienda virtual
1991, 31.8 x 27.3 cm, Print
Más información...
223,20 EUR
235 USD
From series of rare photographs never released before year 2012. Signed and numbered Edition. Photography on 1cm high white...
Más información...
220 EUR
231 USD
29.5 x 45.5 cm, Pen & Ink Drawing
Más información...
446,40 EUR
470 USD
Más información...
6,50 EUR
7 USD

Studio

Divus and its services

Studio Divus designs and develops your ideas for projects, presentations or entire PR packages using all sorts of visual means and media. We offer our clients complete solutions as well as all the individual steps along the way. In our work we bring together the most up-to-date and classic technologies, enabling us to produce a wide range of products. But we do more than just prints and digital projects, ad materials, posters, catalogues, books, the production of screen and space presentations in interiors or exteriors, digital work and image publication on the internet; we also produce digital films—including the editing, sound and 3-D effects—and we use this technology for web pages and for company presentations. We specialize in ...
 

Cita del día El editor no se responsabiliza por los estados físicos o mentales que puedan generarse después de leer la cita

Enlightenment is always late.
Contacto e información del visitante Contactos de la redacción

DIVUS BERLIN
at ZWITSCHERMASCHINE
Potsdamer Str. 161
10783 Berlin, Germany
berlin@divus.cz

 

Open Wednesday to Sunday 2 - 7 pm

 

Ivan Mečl
ivan@divus.cz, +49 (0) 1512 9088 150

DIVUS LONDON
Enclave 5, 50 Resolution Way
London SE8 4AL, United Kingdom
news@divus.org.uk, +44 (0)7583 392144
Open Wednesday to Saturday 12 – 6 pm.

 

DIVUS PRAHA
Bubenská 1, 170 00 Praha 7, Czech Republic
divus@divus.cz, +420 245 006 420

Open daily except Sundays from 11am to 10pm

 

DIVUS WIEN
wien@divus.cz

DIVUS MEXICO CITY
mexico@divus.cz

DIVUS BARCELONA
barcelona@divus.cz
DIVUS MOSCOW & MINSK
alena@divus.cz

SUSCRIPCIÓN AL NEWSLETTER DE DIVUS
Divus New book by I.M.Jirous in English at our online bookshop.