We are in the Photoport Gallery in Petržalka, Bratislava, at the exhibition "Late Harvest".
Every year we do a group exhibition of authors with whom we work or feel close.
It's a clique around Milan Tittel.
This year, the concept is based on changing the role of the author into the role of the curator.
We approached individual authors to exhibit the work of another artist,
whether Slovak or foreign, whom they think should be exhibited.
The interesting part of this concept is that through the selection of other authors
we can learn a lot about how the addressed authors think, through their curatorial roles.
I feel that the selection is very sensitive and very precise.
For example, Martin Vongrej chose a female author from South America. It is a traditional work in textile.
This shows that Vongrej also works with some other mycelium,
or with information that may not be so unambiguously present or readable in his solo work.
Selected works did not go through any further intervention from the curator of this year's exhibition, which is Milan Tittel.
The element of randomness of this collection of works seems very compact to me.
The exhibition really looks good and reveals a possible commonality in thinking.
It is a type of art that has some expectations concerning the intellectual work from the audience.
These are not just some superficially decorative things.
I see the interests of individual authors in this selection. I can feel them there, I can read them.
When Ján Šipöcz exhibits a found object or a letter in Braille by an unknown author,
for me it is a very pure thing and I know that Šipöcz thinks in this way and works like this.
So, in my opinion it is really fitting.
When I see a work by Tamas St. Auby, who was chosen by Petra Feriancová, it is clear to me in what ways she works with art,
what expectations she has from art, and I can guess why she chose this piece.
Július Koller was chosen by Roman Ondák.
The connection is all too clear as everyone has been associating Roman with Julius Koller for quite some time.
A nice moment of the exhibition, which is random,
is that the works of Július Koller and his wife, Květa Fulierová, brought by Ján Šebík, met at this exhibition.
He had his reasons to choose it.
It's a block of flats, so it has some meaning and connection with the place where we are.
All of these works are in the collections of the artists we approached.
Here, in particular, Ján Gašparovič, it is a drawing by sound.
So in this room there are two works from Ľubo Šoška's collection, namely Rastislav Podhorský and Ján Gašparovič.
From Alexandra Barth a drawing by Petr Jánošík.
This is from my collection. It's Roman Bicek. I think it's called a poor painter.
It's actually such a good metaphor for what contemporary artists are dealing with.
I feel like it's very current. It's really a struggle for survival.
On this wall is Tomáš Roubal from the collection of Ján Šipöcz.
On the opposite wall is Cyril Blažo and his collage from the collection of Milan Tittel.
And here we have the work of Stano Filek, which was borrowed for the exhibition from Aurel Hrabušický.
It is a work that we cannot date exactly and we do not have a title for it.
This is an inconspicuous photograph that Miroslav Csölle brought about ten minutes before the opening.
It's the eighties in Prague. By Krysztof Wojciechowski.
Miroslav studied in Poland, so he knows the Polish scene quite intimately.
Now I don't know if Gott is deleted and rewritten for Kryl there,
or if it straight up says "The Golden Nightingale Karel Kryl".
In any case, to write "The Golden Nightingale Karel Kryl" in the 1980s Prague seems to me to be quite funny and quite politically engaged at the same time.
Here is the line-up chosen by Matej Rosmány. It consists of four authors.
Above is Laco Terén, in the middle is Paľo Čejka with Tomáš Klepoch and the photograph of the Dalai Lama is by Pavel Breier.
It's a combination which was accepted for the exhibition as a whole by Milan, because it was premeditated by the author and it made sense.