Umělec 2007/4 >> PAVEL STEREC PROFIL OR NEW FACE Просмотр всех номеров
PAVEL STEREC PROFIL OR NEW FACE
Журнал Umělec
Год 2007, 4
6,50 EUR
8 USD
Послать печатную версию номера:
Получить подписку

PAVEL STEREC PROFIL OR NEW FACE

Umělec 2007/4

01.04.2007

Palo Fabuš | new face | en cs de es

Language, conditions for communication, and even the inexplicability of supra-individual phenomena at the personal level are topics that Pavel Sterec addresses in his work. A student of the Prague School of Arts (AVU), working in Miloš Sejn’s studio for conceptual design, his works define motivation and position as well as the general conditions for artistic production and comprehensibility.
Strong inspiration from the Taiwanese performer, Tehching Hsieh, led Sterec to explore, as part of his earlier studies, the relationship between the artist and society as part of a series of “squatter” performances in the project, Domov (home). Even if he, himself, ranks them as part of his pre-artistic phase, on the whole, the subsequent creations represent an important initial motivation for these acts: he allowed himself, for example, to be wrapped in an opaque plastic bag. Being imprisoned in this manner, he was “dropped off” at a garbage dumpster. He remained there for four hours until the police stopped the event. During a solitary series he lived in various temporary accommodations in isolated places. Even if the most important part of these events for Sterec was the actual experience (the events were not public and were only barely documented), the stunts culminated in questioning the transferability and comprehen- sibility of the author’s response.For a long time, Sterec’s primary subject was language as both bridge and barrier to communication. This was captured in the Miss Understanding and Walkmenáři projects. Miss Understanding was conceived and developed together with Vilém Novák. Preparations included half a year of memorizing a collection of conventional signs comprised of words using as few letters as possible from the standard alphabet, i.e. more or less cries that took the place of select letters. They introduced a simple language that was understandable only to the actors in the performance. The preparation for the event led to the development of voice recognition software that translated the cries into Czech. The public event ironically entitled “conference” took place in a space whose walls the authors constructed of various pieces of rubbish. The authors’ “cry” dialogue,during which an assistant served alcohol and mini-sandwiches, ends in the moment when the software automatically stops working. This is because the authors are unable to continue to articulate precisely the sounds they learned. Thus the machine can no longer translate. The artist also worked with an artificial language in Walkmenáří. This piece’s content bears the spirit of the artist’s long-term interest in performance as well as live events. In the piece, a group of volunteers, who have been blindfolded, answer questions in a synchronized fashion. They listen to the question via walkmans placed on their heads. The answers to essentially intimate questions remain secret, despite the public nature of the event. This is because they are expressed via a series of physical actions, about which the volunteers had been instructed ahead of time. The viewer, who cannot understand the significance of these movements, can only follow the differences in the answers of individual actors. Even if one can find similarity here to the post-structural understanding of language as a system of differences, there is a thin line drawn here between the secrecy of various gestures and the revelations of the sincere answers made in this way. Sterec level-headedly and unyieldingly expresses the factual impossibility of expressing our most internal essence externally. Similarly, he used decoding as a new type of coding in Miss Understanding. He researches the conditions for a function- ing relationship between the author and the viewers (audience) in his other works as well. In these he reduces the relationships to a channel that links the sender to the receiver. On one hand this is a secretive intervention, where thanks to live, pirate radio broadcasts he breaks into the public audio space in restaurants and shops. On the other hand, in the role of author, he assumes the position of the receiver and discusses this with the viewers. This specific role can be seen mainly in Trojský kůň and the Ears project. In the former, he brought a gift to the minister of culture. The gift was a statue of a horse, fitted with an eaves-dropping device. This allowed him to later make public the frequency on which the “bug’s” broadcast could be heard. In the Ears project, which was nominated for presentation at the Brussels- based Europalia Festival, he put together a functioning replica of an old army device meant for long-distance wiretaps. While the theme of Trojský kůň is flirting with institutional critique, Ears heightens the tension between the obscure discovery of a concave object and its original power function, when placed in the context of contemporary society. In both cases Sterec gives the viewer the passive ability to listen in: the possibility for anonymous presence. Pavel Sterec also works with environmental themes – but not so much for their contem- porary urgency. Rather, he is interested in how people comprehend these things on a personal level. In his home he replaced traditional light bulbs with UV ones and attempted to simulate the hole in the ozone layer. He poured lead from a car battery into his kitchen dishes and thus experimented with first-hand contamination. He created a similarly individualized environmental catastrophe in the project, Osobní ropní skvrna (Personal Oil Stain). In this case he poured petroleum into a half-filled bathtub. He later presented his collection of homemade environmental catastrophes in the showroom space of an old filling station in Slaný. The visibly ironic setting for this environ- mental series captures not only the incompre- hensibility of societal phenomena at the personal level, but also casts doubt on the absurd individualism in the construction of personal stances on global problems. In the project, Symbiont, Sterec ties a functioning model of a symbiotic organism to a tree located above the Školská Gallery. By doing this he comically simulates an ontogenetic cycle. Solar panels the size of leaves enable it to extract moisture from the ground. Afterward it is collected in a rubber ball, where, in this biological simulation, it represents a growing fetus. He continues to assess this experience, with a tendency toward bio art, in his most mature and, for the moment, last project – Expogenica. Sterec is driven to develop this new line of creative thought by his need to explore all forms of limitation on creative conditions. Expogenica is an installation exhibit to which Sterec, with the technical support of Vilém Novák, has applied the theory of evolution. It is made up of six sculptures in display windows decorated with motion sensors and heating units. These are activated by the degree of disinterest in the objects, which are later randomly destroyed. Following the principle of “survival of the fittest,” further exhibits/shows/generations will see hybrids of the objects, in which they showed the most interest. The planned series of “exhibitions” (the first of the series was being prepared for the Enter3 Festival at the time of writing this article) offers a critical reflection on artistic operations and their power-wielding mechanisms. This sharp tone is visible in the title, thanks its clear proximity to Nazi ideology. Expogenica gauges the controversial disappearance of taste in exchange for a calculated desire for success. Looking at Pavel Sterec’s previous works, one can trace an authentic preoccupation with starting conditions for artistic reaction. He examines relationships to phenomena that go beyond our comprehension and our attempts to understand them despite complications we cannot escape. Sterec moves to produce further works give us good reason to keep an eye on what he’s doing.




Комментарии

Статья не была прокомментирована

Добавить новый комментарий

Рекомендуемые статьи

My Career in Poetry or: How I Learned to Stop Worrying and Love the Institution My Career in Poetry or: How I Learned to Stop Worrying and Love the Institution
An American poet was invited to the White House in order to read his controversial plagiarized poetry. All tricked out and ready to do it his way, he comes to the “scandalous” realization that nothing bothers anyone anymore, and instead of banging your head against the wall it is better to build you own walls or at least little fences.
Tunelling Culture II Tunelling Culture II
Intoxicated by Media Déjà-vu / Notes on Oliver Pietsche"s Image Strategy Intoxicated by Media Déjà-vu / Notes on Oliver Pietsche"s Image Strategy
Goff & Rosenthal gallery, Berlin, November 18 - December 30, 2006 Society permanently renegotiates the definition of drugs and our relationship towards them. In his forty-five minute found-footage film The Conquest of Happiness, produced in 2005, Oliver Pietsch, a Berlin-based video artist, demonstrates which drugs society can accommodate, which it cannot, and how the story of the drugs can be…
No Future For Censorship No Future For Censorship
Author dreaming of a future without censorship we have never got rid of. It seems, that people don‘t care while it grows stronger again.
ArtLeaks
27.07.2014 19:39
Следующий шаг?
albania
Red, Yellow and Blue in the Middle of Nowhere
Red, Yellow and Blue in the Middle of Nowhere
Jiří Ptáček
IIn the vestibule of a large hotel in Tirana where, in the end, we did not stay, I noticed a poster on a tourist board with the attractive slogan “Albania: The Last Secret.” It accosted us because we had no desire to see the sights of a country that had weathered the ravages of Enver Hoxha. We were here to find out what was happening at Tirana’s second biennale. The patron of the first biennale…
Читать дальше...
symposium
Grave Diggers´ Laboratory
Grave Diggers´ Laboratory
Jiří Surůvka
Читать дальше...
reportáž
Under the Shadow of Heroes
Under the Shadow of Heroes
Alena Boika
Читать дальше...
muscles
Adventures in Musculature
Adventures in Musculature
Jan Suk
“Instead of interpreting art, we must love art.” Susan SontagTwo years ago I saw a work by a Balkan artist, whose name I eventually forgot, a recording of his performance in a gallery where he lifted and pulled weights as a professional for a body-building session. The confrontation of him toning up his overly developed muscles in the space of the intellectually charged gallery made me think…
Читать дальше...
Knihy, multimédia a umělecká díla, která by vás mohla zajímat Войти в e-shop
Jan Svěrák and Martin Dostál's script for the film Jízda (Roadtrip) with a photo-documentary of the film and it's shooting.
Больше информации...
7,65 EUR
9 USD
The woman, put on a pedestal by Western culture, is usually beautiful, naked and defenseless. Klodová argues against this ideal...
Больше информации...
12 EUR
14 USD
The art review Divus number one. This large-format publication brought together outsider art, style, the alternative, the...
Больше информации...
19,72 EUR
23 USD
Limited edition of 10. Size 100 x 70 cm. Black print on durable white foil.
Больше информации...
75 EUR
88 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 ...
 

Цитата дня Издатель не несет ответственности за какие-либо психические и физические состояния и расстройства, которые могут возникнуть по прочтении цитаты.

Enlightenment is always late.
KONTAKTY A INFORMACE PRO NÁVŠTĚVNÍKY Celé kontakty redakce

DIVUS PERLA
Former papermill area
Nádražní 101
252 46 Vrané nad Vltavou

 

Gallery and Cafe open from Wednesday to Sunday between 11am to 10pm
and on appointment at shop@divus.cz, +420 606 606 425
 

 

Divus Perla
Gábina Náhlíková, gabina@divus.cz, +420 604 254 994


Divus Publishing
Ivan Mečl, ivan@divus.cz, +420 602 269 888



Studio Divus
Helena Jirákový, studio@divus.cz


Magazine Umělec
Palo Fabuš, umelec@divus.cz


Cafe Perla
Lucie Palečková, shop@divus.cz, +420 606 606 425

DIVUS LONDON
Arch 8, Resolution Way, Deptford
London SE8 4NT, United Kingdom

news@divus.org.uk, +44 (0) 7526 902 082

 

Open Wednesday to Saturday 12 – 6 pm.

 

DIVUS BERLIN
Potsdamer Str. 161, 10783 Berlin, Germany
berlin@divus.cz
, +49 (0)151 2908 8150

 

Open Wednesday to Sunday between 1 pm and 7 pm

 

DIVUS WIEN
wien@divus.cz

DIVUS MEXICO CITY
mexico@divus.cz

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

NOVINY Z DIVUSU DO MAILU
Divus We Are Rising National Gallery For You! Go to Vrané nad Vltavou, Nádražní 101.