školská 28

komunikační
prostor

Newsletter

Subscribe to Newsletter feed

Search form

Main Gallery

Pavel Havrda: Utopia Poaceae

Curator: Michal Kindernay
8.12.23.12.
Wed 7.12. - 18:00

The systematic and ironic world by Pavel Havrda in the gallery space we could observe right away from several perspectives. The author evolves holistic approaches, typical for his previous works, to careful exploration of nature and social systems. Forms of organization, laws, categories, logs and other types of plant, insect or political societies are diffused into new structures and relationships. Finely planted abilities allow us to see under the surface of established schemes and construct, eventually to let grow up something new. Havrda’s objects look like, and presumably are, DIY experiments with ironic and utopian contexts to which long-term and intensive personal research precedes.

Nowdays we know that plants are capable of very complex social interactions. They vegetate in extensive societies or as solitaires. They have adapted also to aggresive urban environment. Plants also have “sight”, even better then humans, they can perceive light of various wave lengths. They can also “hear” and “smell” and they have even a memory, which can be inherited also through generations. So it is important, how we understand their existence, how we can comprehend their different but cognate perceptual apparatuses, complex rhizomatic structures and and how we can re-evaluate anthropocentric paradigm. Pavel Havrda is successful, at least in terms of his approaches to hybrid archiving and contextualisation. His objects and installations are abstract and sorted out from wider units and through analytic and antagonistic procedures retroactively personified. His studies of spatial herbariums actualize in ironic way forms of presentation and categorization of social structures.

In the installation we can be aware of certain dualistic principles. Central arrangement of residual relic of dried-up beetroot is attracted by the force of rotary mechanical system. That sustains the motion, event it is currently dead, enclosed form. The trinity of inverse tussocks we could incorporate in complementary way. It concentrates a utopian growth of grass weed in one trajectory, towards one point. It is part of another type of the record, category or time diagram from the system rather out of context. Thus inside the gallery we can find remains of hierarchical order, museum exposition, which disintegrates by irrefragable consequences of aging. By the contradiction of rigid archives in the interior is the outside constellation of alive atomized grass. It is unbound from the enclosed whole, it causes self-organization and forming of “rhizomatic community”. Its form and placement outside of the gallery territory has a lot of meanings. Similarly such as a view on dusty exhibits, which the author presents in museum like light. Deleuze and Guattari in their most important work A Thousand Plateaus say: "Rhizome has no beginning or end; it is always in the middle, between things, interbeing, intermezzo. The planar movement of the rhizome resists chronology and organization, instead favoring a nomadic system of growth and propagation. In rhizomatic conception there are no changeless basic structures, but rather generative forms of organization, events and variances. Pavel Havrda proposes inside or outside the gallery space organic conjunctions, that are playfully changeable, ironically accidental and finally decentralized by a utopia.

Images