Date: 12.12.2013 — 20.01.2014
Hana Garova´s work, despite its essentially introspective continuity, has had till now very exciting progress. In recently overpassed phase, in the time of her official farewell to the educational artistic institution, she created about thirty drawings, which, over the fact they were condemned to a short existence and soon after had to be destroyed, helped the author to come to an important catharsis. The ostensible promptness of drawing as an expressional tool gets density and energy of painting like concentration. Cataleptic corporality, latently mocked eroticism, the desire for the body itself contained in eroticism and also melancholic like decandent grin toward the reality and its irony; these are at least some of the resources belonging to psychology and intimacy. Through them she often interprets her observations across the bestiary of art history, however she also draws from philosophical, literary or poetic texts, which nourish her meandrous mind.
Gestic marks and even pervasive nerve of her drawing and painting are lead by an agile ambiguity. One half of her thinking endorses tradition by observation as same as by knowledge of its facts, it endorses art pieces and their authors, which nowadays we call masters, and whose art was created in subordination to church or secular oligarchy, as same as it could of been created entirely subliminally, individually or even secretly in commonly required themes. Art of so called old masters, in which psychology still means natural human figure, expression body and face facial expression. The estate from spiritual ecstasy to physical one, and the estate of erotic and sexual bliss is but even the tradition of the transgression. In terms of this context transgression means exceeding fixed, often rigid, moral stereotypes. And it is very eroticism, which is the transgression of religion as such, as the french philosopher Georges Bataille claims it. Eroticism is spiritual stepping out of the religion by subversive passions and darknesses of the soul, by violence, which dominate the body.
Across second half of her thinking march the contemporaneity. The one, naturally reflected by Hana Garova´s silent personality, is what later cataleptically bends, psychotically trembles, what grins and stares from paper or canvas. Her pursuit of technological rigor, which relates to the already mentioned passion with the tradition, is the instrument by which she makes monumental otherwise hardly perceptible things of interior. And in other respect she wants to get out from the tradition, frowziness and stink of what isn´t any tradition already and kick to that rachitic sexisms, which in reality is just mere rigid and sterile bogey. And it isn´t only the question of the pitoresque corporality or a shallow game with its shapes. These premises are need to be understood thouroughly and can´t be just compared to anything like it so easily. Garová is the example of contemporary artist, who is driven to create her own particural and private language through temporal and technical consistency of its medium, so to speak medium of painting and drawing. Whether we would call this language expressive or opressive one, by mere attribute we won´t be close enough to what we are actually looking at, as close as we will rather be to something what we desire to be looking at. It is us (spectators), who think by expressions.
Curator: Radim Langer