I can't name this space. It was former Krocus, but it's not Krocus anymore.
It's just some anonymous space.
The whole exhibition and all these works are quite formal.
An empty painting by Mira Kubáňová and a paraphrase of František Demeter by Ivana Durkáčová. Painting in a different way.
As if stuck between seriousness and lightheartedness or lightness.
At the same time between descriptiveness and a deformation of what is described.
The first work is the aforementioned Staple floor, which we call the paraphrase of Fero Demeter.
The original intention of this installation was to cover the whole room with staples.
Through their scale and ratio to the room's dimensions and other time,
financial and human resources and endurance constraints, this has failed.
It ended with working to the last moment.
This, in particular, took about a month, which is actually the case with these other pieces as well.
Initially they were supposed to describe the space in a very simple way, more formally.
During their production, almost every one of them ended up reflecting the details of the space.
The idea behind this epoxy surface was to become this abstract fabric, an ideal white reflective surface.
The original idea was that it will be a board leaning against a wall. It actually shifted on its own.
The epoxy board was created on the spot, it was poured here and then lifted up.
It further advances the concept of an emptied painting.
It has no expressive content of its own, but reflects and absorbs its surroundings.
We call this canvas a non-autonomous painting because it does not have its own frame.
It consists of a classic canvas and black paint and several layers of paint that accumulated over time.
The concept of the Traveling Canvas was created as the first re-installation of this canvas within the exhibition Attic.
This canvas was originally created as a diploma project by Mira Kubáňová.
From the very beginning, it was supposed to be a black reflective surface.
Its dimensions were based on the place of first installation.
Because it does not have its own content, and because it is reflective, and since it also lacks its own construction,
it does not have any form of its own, so every time it is installed in a new place, it has to necessarily adapt.
So we pour a new layer of varnish on it.
It is lifted again in some other way, installed, depending on where it is located.
In the details of how it flows down and reflects the new place, the new place is written into it.
This exhibition, the process of its creation, as I have already mentioned,
is the search for a relationship between the things that have entered it.
A bit of a motive is actually this gradient, which arises here as both a color and a formal gradient.