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VIKTOR FUÄŒEK


Priestor medzi / Space between, SODA Gallery, Bratislava, Slovakia, 2017

Priestor medzi / Space between, SODA Gallery, Bratislava, Slovakia, 2017


From the series Space between, 140x160cm, Acrylic with charcoal and plaster on canvas, 2017

From the series Space between, 140x180cm, Acrylic with charcoal and plaster on canvas, 2017


From the series Space between, 140x180cm, Acrylic with charcoal and plaster on canvas, 2017

From the series Space between, 140x180cm, Acrylic with charcoal and plaster on canvas, 2017


IDEA, 150x240cm, Med a prach na posteÄžnej plachte, 2017 IDEA, 150x240cm, Honey and dust on bed sheet, 2017

Priestor medzi / Space between, Performance, SODA Gallery, Bratislava, Slovakia, 2017


Priestor medzi / Space between, Performance, SODA Gallery, Bratislava, Slovakia, 2017


Miloš Šejn: “How to explain images to an invisible interspace” Intervention into exhibition “Space between”, SODA Gallery, Bratislava, Slovakia, 2017


Haptická monáda / maľba Viktora Fučeka

Maľba v čírej haptickej kvalite, ktorá neberie na seba kompromisy zobrazenia sa v posledných štyroch rokoch ustanovila u Viktora ako jasná a už aj charakteristická črta jeho tvorby. Tieto kvality organicky vyplynuli z predošlej autorovej tvorby, kde boli však skrotené médiom video-performancií, sublimované konceptuálnymi inštaláciami a tiež ich dokumentáciou. Viktor po dlhom čase a postupne opúšťal elektronické médiá ako prostriedok tvorby a zdelenia, a dá sa povedať, že paradoxne čím ďalej, tým menej prúdu k svojej tvorbe potrebuje. Je to vedomý pohyb od virtuálneho k bezprostrednému kontaktu s matériou a jej skupenstvami. Príznačne a snáď zákonite sa mohli vyjaviť a rozvinúť iné kvality práve v skúmaní substancií v maľbe gestom, telom, procesom a pohybom po hrane medzi nimi. Okrem akrylových farieb, tempery a oleja, ktoré, samozrejme, sú taktiež substancie, Viktor vkladá do maľby i významovo širšie vzťahy v záznamových kresbách popolom, uhlíkom, hlinou, medom alebo líčidlami. Treba si tu uvedomiť, že európska maľba pôvodne z podobného prístupu vychádza. Teda zo skúmania a snáh o fixovanie ľudského citu v oraganickej alebo inertnej matérii, o ktorej umelec alebo historický alchymik je presvedčený, že je nosičom nielen významu, ale i citu a vnútornému vzťahu k svetu. Ostatne James Elkins začína svoju knihu What painting is priamo vetou “Painting is alchemy” a následne bezmála na 300 stranách túto zdanlivo jasnú vetu prehlbuje.

Snáď nie je prehnané tvrdiť, že práve tento komplexný rámec je pádnym dôvodom sa s nimi konfrontovať bezprostredne a osobitne. Nie je tu ambícia zobrazovať a rozprávať, ale byť a zasiahnuť. Jeho obrazy musia pôsobiť priamo, aby obstáli bez opierania sa o výklady, symboly, kultúrne interpretácie alebo už spomínané zobrazenie. To je ich podstata a sú v tomto na seba veľmi prísne. Je to tým, že fyzické stopy sú podmienené a súvisia s pohybmi vnútorného zraku, nie len púhych očí. Ten zrak má svoj tichý prameň v sedimentoch vrstiev emócií, ktoré svoj zdroj neprezrádzajú. Napríklad jeho inštalácia šiestich veľkoformátových malieb v expozícii finalistov Ceny Oskára Čepana 2015 artikulovala polohu maľby, ako “tretie telo”, totiž ako hmatateľný a najmä dotykom tvorený záznam interakcie medzi autorom a iným človekom. Viktor si pozýval intuitívne rôznych ľudí zo svojho okolia a dialóg sa stal procesom tvorby a zároveň privátnou performanciou. Vznikli tak desiatky artefaktov, stelesňujúce prchavosť vzťahu zaznamenanú alebo zašifrovanú na tkaninách posteľných plachiet. Zaujímavý je ale pohyb maľby ako monády cez dyádu ľudského vzťahu k triáde, kde vzniká to tretie, artefakt ako fluxus z napätia dvoch polarít. Spätný návrat k monáde sa deje prirodzene a organicky, z tekutého procesu sa stáva ukončená maľba ktorá v sebe nesie kontext svojho vzniku i zmyslu svojej existencie. Môžme tušiť paralely Viktorových snáh vo fenomenologickom myslení, kde o fenoméne nevieme vďaka intelektu, ale skúsenosťou s ním. (“We know not through our intellect but through our experience.” Maurice Merleau-Ponty)

Viktorova maľba vzniká v kontexte priamej skúsenosti týchto substancií, ktoré sa mu stávajú zrkadlom, partnerom i zápasom v snahách pretavenia impulzov do hmoty. A práve to je maľba v jednej zo zásadných polôh svojej alchymickej povahy. Na začiatku je však telo so všetkými dispozíciami ako médium pre vzťahy vo svete a k svetu (“The body is our general medium for having a world.” ― Maurice Merleau-Ponty).

Ján Valík

Haptic monad / painting by Viktor Fucek

Through the past four years painting in clear haptic quality that does not compromise the portraying value, has been significant for Viktor as a characteristic feature of his work. This quality has organically resulted from the author’s previous work, yet before, this quality had been tamed by the video performance, sublimated by conceptual installations and by its documentation. Eventually, Viktor abandoned electronic media as a mean of creation and sharing and as a result he’s been allowing less and less of the media stream to his creation. It’s a conscious transfer from virtual to immediate contact with the material and its elements.

relations in the world and towards the world. (“The body is our universal medium for having the world. “Maurice Merleau-Ponty). Perhaps it is not an exaggeration to claim that this very complex framework must be confronted immediately and independently. There is no ambition to show and describe, but to be and to intervene. Viktor’s paintings must be viewed directly in order to be withstood with no interpretations, symbols and analysis of cultural background or the previously mentioned viewing. That is the essence of theirs. Admittedly, the physical traces are conditional and are linked to the actions of the inner sight, not just the actual eyes. Our sight has its silent spring in the layers of sediments of our emotions which source is unknown.

Actually, and perhaps lawfully, other qualities were allowed to be processed and developed in the process of investigating substances, in painting with gestures, body and balancing on the edge between them. In addition to the acrylic paints, tempera and oil paint, which naturally are also substances, Viktor introduces into painting also meaningfully wider relations in recording paintings using carbon, aluminium, clay, honey or makeup. One needs to realize that European painting originated from a similar approach. Thus, from the examination and an attempt to fix a human emotion in organic or inert material. Similarly, an artist or an ancient alchemic was convinced that the art is not only a carrier of a meaning but also an emotion and a transferor towards the inner world. James Elkins begins his book What Painting Is with a sentence: “Painting is Alchemy” and then develops this seemingly clear sentence on almost 300 pages.

For example, his installation of six large-format paintings at the Oskar Čepan Prize 2015 Finalists’ Exhibition, marked the status of painting as a “third body,” as physical and especially sensibly detected recording of an interaction between the author and the other person. Viktor invited intuitively various people to the dialogue and it has become a major process of creation and private performance at the same time. Dozens of works were made, embodying the volatility of the relationship recorded or encrypted in fabrics of bed sheets. Interestingly, the movement of painting as a monad to dyad in human relationship into triad – the triad is reflected in an artefact as a fluxus formed from the tension of two polarities. On contrary, the return to the monad is done naturally and organically, the liquid painting becomes the finished painting which in itself carries the context of its origin and the purpose of its existence.

Viktor’s painting is created on a background of direct experience with these substances that are happening to be also a mirror, partner and challenge at the same time, in the pursuit of transforming impulses into form. As a result, we have a painting in the one of its most characteristic positions of its alchemical nature.

Finally, we can detect the parallels of Viktor’s efforts in phenomenological thinking, where we do not detect the phenomenon through our intellect, but through our experiences. (“We do not know through our intellect, but through our experiences. “ Maurice Merleau-Ponty)

In the beginning, however, there is a body with all its dispositions for a medium, for understanding the

Ján Valík


Dialogues, Oskár Čepan artprize finalists exihibition, Košice, 2015

Golden Sands Location, (Group exhibition), PRFR Gallery, Bratislava, Slovakia, 2017


Inner landscape, 120x200cm, Fresco on plasterboard, 2016

Listening skin, 145x185cm, Fresco on linen, 2017


Pieta, 130x180cm, Used bed sheet on frame, 2018

Monologue, 130x180cm, Used bed sheet and chair, 2018


Absorbing, 100x120cm, Gesso de Bolognia on the window, Rome, 2012

Listening, 100x120cm, Gesso de Bolognia on the window, Rome, 2012


Discussions of Everydayness, Large mural fresco, 3x39m, Acrylic on the wall, Topolčany, Slovakia, 2016

Rozhovory každodennosti, Veľká nástenná freska, 3x39m, Akryl na stene, Topolčany, 2016


Et in Arcadia Ego, Cecilia!, Installation (with Ján Valík), Folded paper, Bratislava, Slovakia, 2013

Priestorová štúdia / Spatial study, 3x3m, Venezia, Italy, 2014


Long play, Installation, 100m drawing on paper, Bratislava, 2012


Spatial research, performance, STOKA Theatre, Bratislava, Slovakia, 2016

Spatial research, performance, STOKA Theatre, Bratislava, Slovakia, 2016


FoR mE iT’S tOO RAndOm, PAF Festival of Film Animation Olomouc, Czech Republic, 2016

Alma excelsior / Whispering spaces, Performance with Ján Valík, Amforman art event, Kroměříž, Czech Republic, 2016


Animaterie, Performance with Klรกra Pernicovรก, ABC Gallery, Bratislava, Slovakia, 2017


www.viktorfucek.net

Viktor Fuček (1977, Československo) je vyštudovaný

Viktor Fuček (1977, Czechoslovakia) is a graduated

architekt, ktorý pokračoval vo svojom štúdiu na

architect who continued his studies in the Academy

Akademii Výtvarných umění v Prahe v ateliéry Miloša

of Fine Arts, Prague in the studios of Miloš Šejn and

Šejna a Tomáša Vaňka. Tiež absolvoval stáže na School

Tomáš Vaněk. He also attended internships at the

of Art, Australian National University a v Ateliéry IN

Art School of the Australian National University and

Ilony Német na VŠVU. V roku 2014 sa stal finalistom

at Academy of Fine Arts and Design in Bratislava. In

súťaže Arte Laguna Prize a ceny Oskára Čepana v roku

2014, he was the finalist of the Arte Laguna Prize and

2015. Taktiež bol v užšom výbere na cenu Artward

the Oskar Čepan Prize for Slovak emerging artists in

v roku 2017. Svoju prácu prezentoval v domácom a

2015. He was also among awardees of Artward art

medzinárodnom kontexte na sólových ako aj na sku-

competition in 2017. Viktor presented his work in the

pinových výstavách vrátane Českej republiky, Veľkej

Slovak and international context in solo and group ex-

Británie, Talianska, Austrálie, Francúzska, Nemecka

hibitions, including Czech Republic, UK, Italy, Australia,

a Hongkongu.

France, Germany, and Hong Kong.

Viktor Fucek: Selected Works of Art  

For more works please visit https://www.viktorfucek.net/ Contact me directly on viktorfucek@gmail.com

Viktor Fucek: Selected Works of Art  

For more works please visit https://www.viktorfucek.net/ Contact me directly on viktorfucek@gmail.com

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