“Die Austellung” (germ. “exhibition”), written with one “s”, is not really an exhibition, but rather an object, bearing associations with a show of modernist painting and sculpture. “Paintings” and “sculptures” formed by a single clay line are not self-valuable art pieces, they are place holders, signifiers. Their transparency, due to which one could look through the sculptures at the space or at the wall, is associated with the sketches and cartoons from the pages of “New Yorker”, showing us art in a relatively similar manner, not as art and not as a parody, but as a place holder. Burned clay, being maybe the most archaic material, frees these place holders from the excessive overloads of meanings, begetting a parallel with some new antiquity. Through the “fossils of modernism” spectator realizes his role in a museum as if from a distance, where the act of art is being already accomplished.
In his essays “Inside the white cube” Brian O´Doherty is writing how the emergence of modernism made the perception of art impossible without the active involvement of the spectator. Collages with everyday life objects that go beyond the plane, paintings that require a certain distance for an adequate perception and so on, all of this contributed to the birth of a new relationship - "body – subject". Gradually the white cube itself became the third active link in this chain, the audience began to see themselves not only in relation to the artwork, but also in space as an equal participant of the exhibition. Now, in the era of new technologies, spectators are creating artworks with their own presence and participation. The chain "body-object-space" has a new member – the camera, capturing us in museums through selfies and hidden cameras. Spectators are converted to the attendance statistics and are often forming exhibition content. It was important for me to reflect on how the modern spectator, compelled to create an artwork on a par with an artist, understands himself in an exhibition space. Simply put, I wanted to turn the situation where art and space dominate the viewer inside out, and make the spectator draw the gaze on himself.
The references to recognizable authors such as Henry Moore, Picasso, Matisse, Morandi, Mondrian are marking the space as exhibitional, but the repetitiveness of the plots and minimized figurativity open another field of understanding. The perception of art and the theme of painting as such is raised through viewer's interaction with his own and collective memory, recalling some cultural and personal moments in time, between installation and object, between decorativeness and abstraction. One feels like being in front of an ideogram, where the distance between sign and form does no longer belong to the intention of communicating but to that of memory. The graphic forms are fluid, there are no accents or other punctuation or rhythm marks, there are only fluid flows, one clay line for each object. The audience takes part in the exhibition intellectually; it goes through a round trip process of proposal-perception. The real location of the exhibition is the spectator´s mind.