December 2009 - January 2010
This spring Jaroslav Kyša along with other artists (Jiří Thýn, Isabela Grosseová, Vasil Artamonov, Alesey Klyuykov, Barbora Gregorová, Jan Šerých, Markétra Kinterová and Martin Horák) took part in a week-long artist residency in Moscow. The residency and participation on a lettristic festival in the Central House of Artists (Dom Khudozhnikov) was realised as a part of the Cargo project in cooperation with the Czech Centre in Moscow. Jaro creates impulsively depending on the environment that influences him, and so the Moscow installation was such a reaction to the city which in our coordinates awakens emotions to its atmosphere, perceptions and associations connected with it. etc. gallery introduces three of Jaro’s videos from Moscow: Love Us of Die, Barrier 2 and In Oil We Trust in the Czech setting for the first time.
These were interventions into the public space, into its well-ingrained structures, with the help of which the author reacts to the specific environment, cultural and social differences and almost incidentally and unobtrusively comments on the optical and emotional perceptions: doing that he virtually teases the rattle-snake with a bare foot, like when he drops a full shopping bag right in front of the marching Kremlin Guards or while caressing the Russian flag belonging to a Russian patriot standing right in front of him at the state celebration in the Red Square. The huge spaces, megalomanic celebration, powerful army and Moscow wealth. Jaro lies down in the park and disgorges oil from outside himself - the black gold, the alpha and omega of production in the 20th century - recently he has been using it as an artistic means of expression - the installation is made up apart from the above videos by visual references to Russia, which the author created for the space of etc. gallery: a play with a mirror image of the geographical shape of the Russian federation, Rorschach’s test - forms and their possible meanings. Thus stories (like the one with a swallow), which relate to Kyša’s personal experiences, subjective perceptions and interpretation of a specific place.
Markéta Vinglerová 2009
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