Tereza Holá & Hynek Skoták

Periode: 08.10—09.12.2022

Tereza Holá and Hynek Skoták sha­re a com­mon stu­dio in Brno. Over recent years, the duo has cre­a­ted lar­ge site-spe­ci­fic instal­la­ti­ons in the Czech Republic, Slovakia, Italy and espe­ci­al­ly at con­tem­po­ra­ry art shows in France. Tereza Holá usu­al­ly departs from natu­ral mate­ri­als (reed, grass, lea­ther) in her prac­ti­ce. Hynek Skoták uses light, sound, sun­light and moon­light and wind in his con­cep­tu­al instal­la­ti­ons. Both of the artists often use was­te mate­ri­als (used PET bott­les, plas­tic crumb, paper, plas­tic bags). 

Parasite 2022 Riorges France 3 La Beaute Apocalyptic 2021 Etangs d Art Ploermel France Les Lichens 2021 Parcours des Fees Crevoux France Oil On House 2021 Brno CZ

Tereza Holá & Hynek Skoták

Tereza Holá and Hynek Skoták per­cei­ve their resi­d­en­cy at maak­leer­plek as a trans­fer­red wor­king spa­ce, a labo­ra­to­ry in a new envi­ron­ment, that allows them to focus and slow­ly break away from their cur­rent prac­ti­ces. Both authors find them­sel­ves at a turning point whe­re they no lon­ger want to cre­a­te envi­ron­men­tal” mate­ri­al instal­la­ti­ons, instead they aim to dema­te­ri­a­li­ze” their work. This tran­si­ti­on is ana­lo­gous to their per­cep­ti­on of our civi­li­za­ti­on and the eco­lo­gi­cal cri­sis. The artists stron­gly per­cei­ve that the way to save the pla­net is not recy­cling, but mode­sty: con­sump­ti­on reduc­ti­on, pro­duc­ti­on reduc­ti­on, homo sapiens res­traint, and a return to human instincts overs­ha­do­wed by materialism. 

During their stay in maak­leer­plek, the artists will divi­de their research stay into three sta­ges: the first is get­ting to know the envi­ron­ment, resour­ces and his­to­ry of the pla­ce. The second is map­ping this same envi­ron­ment through dai­ly artis­tic acti­vi­ties (dra­wing, sound recor­ding, expe­ri­ments with words and poe­try, frag­ments of speech). They will keep track of the­se acti­ons in a sha­red docu­men­ta­ti­on for­mat (dia­ry, book, arti­fact, poe­try band). The third and last pha­se is the tre­at­ment of the resi­d­en­cy spa­ce (in the old silos of AB Inbev) as a post-indu­stri­al cathedral”.

We do not want to pla­ce demands on the vie­wer’s inter­pre­ta­ti­on of the work, we do not want him to dili­gent­ly search for mea­nings and levels and to divert atten­ti­on from the sen­so­ry expe­rien­ce of spa­ce to rati­o­nal con­si­de­ra­ti­ons. We do not want fur­ther eco­lo­gi­cal appeals and soci­al com­ments, we do not want to overw­helm the new­co­mer with addi­ti­o­nal infor­ma­ti­on pres­su­re. We want to allow the visi­tor to turn off. On the con­tra­ry, so that the results of our work trig­ger as few asso­ci­a­ti­ons as pos­si­ble. To just per­cei­ve his stay in spa­ce. Connection with spa­ce. To EXIST in the midst of civi­li­za­ti­o­nal cha­os, at least for a whi­le. It is just a mat­ter of being in a pla­ce that will soon disappear”