Sylva Lacinová

Untitled

1985

Wought copper

Installed by: Filip Cenek, Jan Kristek, Filip Cenek, Jaroslav Sedlák, D’epog, the platform for contemporary experimental stage work 

Brno house of Arts, Malinovského náměstí 652/2 

0pening hours: Tuesday – Sunday: 10–18 

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The sculpture by artist Sylva Lacinová was originally placed on the façade of the Associated Research Institutes building, designed in the mid-1980s by architect Jan Dvořák and reconstructed three decades later by the architect studio Pelčák a partner for the needs of the Faculty of Informatics, Masaryk University. It was then, in 2012, that the “moment of disappearance” came, affecting not only the main wing with its brutalist sculptural façade, the high quality design interior furniture and artworks, but also the sculpture created by artist Sylva Lacinová on commission for the façade of Dvořák’s building. After the work was saved thanks to the engagement of some experts literally “at the eleventh hour”, there was surprisingly no subsequent necessary reflection on where and how it should be Open, when they decided to incorporate Sylva Lacinová’s object in the exhibition – in fact by making it its ideological premise. 

Complex and ambiguous debates on “how to exhibit the sculpture and what other meanings it will acquire with the ‘new framing’,” carried out first at the Masaryk University as the owner of the sculpture, and later also within the curatorial team of the exhibition, resulted in the intention that these very debates should become one of the essential reference levels for the new presentation of the work. Finally, an installationbased on the physical insertion of the object into the entrance hall of the Brno House of Arts was designed in collaboration with architects Jan Kristek and Jaroslav Sedlák. It draws attention to the Mephistophelian nature of the social and institutional consensus “defining art as art”, but at the same time (in a more civilian way) it allows the viewers to experience scaling, to look at the work from an unexpectedly close view, and to touch its copper.

Endless talks about the installation of the sculpture by Sylva Lacinová and its further use after the exhibition are also the central themes of a video initiated by Jan Kristek and realized in collaboration with d’Epog, the platform for contemporary experimental stage work, and with artist Filip Cenek. The recording is featured in the installation as a colophon to show the viewers the recurrently hopeless nature of these debates, which, more generally, also show how (not) to approach art that has lost its original function and its shaky destiny, concluding with removing it from its original context, is reminiscent of the fate of people uprooted from the security of their homes as a result of unfavourable circumstances or unacceptable living conditions. The migration of from now on unnecessary objects represents a symbolic parallel to human migrants. The indicated dispositions, or rather indispositions of these living and inanimate elements go beyond the comfort zone of “common neoliberal thinking” and illustrate a fundamental lack of interest in solving socially and politically improper situations that are postponed constantly and forever.