SACRELACRUM / SACRAL ELEMENTUM IV.
The first-run exhibition project is presented in the dramaturgical cycle Theme. It is a follow-up to the previous three years of thematic realization of the gallery concepts about sacral tendencies in contemporary art (in the yr. 2010 Sacral Elementum I, concept by Kamila Tilová; in the yr. 2013 Sacral Elementum II, concept by Lucia Benická; in the yr. 2016 Sacral Elementum III, concept by Daniela Čarná).
The collective exhibition of nine authors from Slovakia and Bohemia in the curatorial concept of Adam Macko presents the sacral motif on three levels – thematizing space (entering sacral iconography into profane spaces and vice versa), defining individual mythology of authors and recontextualizing iconography (semantically and semiotically). It points to the wide range of spiritual manifestations in the arts, examining the sacred as a biological programme and its ability to relate to mortality in the cultural society of today.
Although the works of the exhibition are divided into four basic thematic units: Post-Mystery, Lumenochrons, Sacrecon and Aed Sacra, their exclusive separation is not possible. The individual programming strategies of the authors overlap, as it is demonstrated by their installation. Mária Čorejová uses temple spaces as a coulisse, in what she embeds common motifs and trivial objects, creating the existential mythology of personal and public space. At her, the medium of drawing, through its reduced colourfulness and modesty of visuality, accentuates the illusion of light contrasts that were crucial to spiritual art. Patrik Hábl (CZ) also uses the visual reduction to abstracted shapes. In reference to portrait iconography, he creates large-sized canvases, which he programmatically returns to temples and churches. His works act here as a kind of fasting clothing, acting contemplatively in liberation from the mimetic depiction of Biblical mythology. Through the optics of trash aesthetics, Pavol Červeniak, Jaroslav Švestka and Martin Kacvinský insert some found waste elements into their works and elevate them to an aesthetic object. At Pavol Červeniak this is a deteriorated cardboard material, to what he applies the author's texts – the so-called boards of annunciation. Jaroslav Švestka takes over the visualization of the bedroom hanging religious pictures and transforms them into banal icons of over-crowded theology. Martin Kacvinský refers directly to the icons of the Madonna, using the night-club tablecloth as a base to create a parallel with the Turin Canvas. Rudolf Janák (CZ) treats the sacral space more mythologically, seeking spiritual overlaps in colouring. Miloš Kopták creates a humorous narrative of biblical stories with pop-cultural strategy through appropriated items (parts of toys), that he illustratively isolates as some new reliquaries. Similar procedures are present in the works of Sára Biháryová, motifs that she with embroidery (drawing) applies to the fabric and heading of the object applied. The object of Miroslav Žolobanič becomes an act of subtle up to purist method of reinventing himself as a mystic, pilgrim, ascetic man.
Curator: Mgr. art. Adam Macko
Production cooperation: Mgr. Lenka Králová - GUS
Graphic design: Mgr. art. Ivana Babejová - GUS