Galerie VI PER is a very new gallery in Prague’s Karlín and it was an honor to see its first exhibition, which is called Místo monumentu (The Place of a Monument).
The curator of this project, Anežka Bartlová is trying to connect the ideas of several artworks to point out that “monuments undeniably have their place not only in a city’s public space, but also, more broadly, in our central-European identity.” She finds the concept of monuments very important due to their symbols and impact which they have on our perception as well as the placement in which they occur. The crucial and common idea of this exhibition’s works can be found in an approach to “sentiment,” which brings a soul to the monuments and then we are able to penetrate into their significance.
The small space hides nine artworks with common thematic topic. We can find the work, which is called Námestie bez koňa by Erik Sikora. It is a video representing the square in Košice, Slovakia, which is missing the horse, which enriched this square before. Sikora therefore comes with some bizarre solutions how to call it back. It is definitely an original kind of humor that makes this exhibition even more interesting.
Another work is called Jihlavský rytíř by Jaroslav Róna. At first sight there is nothing unusual about this sculpture, but it hides not only the non-proportional horse’s body, but also the philosophy of Czech towns and their competitions that unfortunately seem quite useless. This horse was designed for the square of Jihlava and Brno and it should represent a monument of courage, however now it is only a small sculpture with interesting story behind it.
Místo monumentu also offers us a very big picture of Pamätník ľudovej architektúry (Monument of Folk Architecture), which is extremely interesting work placed in Košice, Slovakia and its author is Tomáš Džadoň. It “consists of three classic log cottages placed on the roof of a classic prefabricated 13-floor housing block.” It nicely shows a return into the Slovak past and also the connection of traditional culture with contemporary one.
Tomáš Džadoň is also the author of Pamätník mame, Pamätník otcovi, which consists of two photos of Džadoň and his parents. We cannot be sure what to look for, but who cares, when two parents are willing to climb on their son’s back? Actually, it is love. We should look for love.
One of the artists of this exhibition is also Pavel Karous with his work Pomník obětem policejního násilí. We can see only the picture, however it is a monument representing a demonstration and a reaction against violence of the Czech police.
And how do you place your monuments?