Remote Effect

ARTISTS:
Pavol Godiška, Tereza Kalousová, Dominik Styk, Ivan Theimer, Adam Brož & Šimon Výravský

OPENING TIMES:
Opening on Wednesday the 11th of March, 18:00
12th, 13th, 14th of March, 13:00-18:00

By creating a model of reality, we initiate an epistemological operation: the model or mock-up creates a new framework for observation in which the structures of the world can be examined, manipulated, and imagined in alternative configurations. In this sense, the model resembles a diagram—an abstract form that, in addition to mere representation, is a generative tool enabling the creation of new ones. Construction is a game in which it is possible to let the familiar emerge in a different material form, according to different rules, thus creating surprising conditions in which the world can become conceivable. Miniaturization does not mean merely reducing the size of an object, but intensifying it.

We do not have to view the landscape solely as a horizontal surface of successive templates. The resulting image emerges as a pulsating puzzle of intersecting contours, paths in different directions. Human inventions and created environments have freed themselves to fulfill their own potential. In this context, individual works come together in the idea of the world as a simulation that can be constantly reorganized according to newly emerging connections.

The landscape we see in the joint work of Adam Brož and Šimon Výravský, or in Ivan Theimer‘s painting, is primarily established by a system of relationships within a sprawling post-industrial organism, parts of which protrude from the ground, dive into underground tunnels, and tower into the sky on electric pylons. The mechanism of landscape design here is subject to closed laws that we are unable to decipher. At the same time, the works are separated by half a century, during which many ideas have been realized and manifested in their consequences. We fall into the mechanisms of dreamlike spheres that intertwine with dystopia, moving through them like a web of layers and structures that we discover with our eyes. Dark kerosene cleans metals, degreases and removes the dirt left behind by our footsteps.

Pipes frame the structure of the urban landscape; they are its invisible organs. Cloudy water full of impurities, microplastics, and chemical compounds dissolves in a glass like a fizzy vitamin that finds its way through the pipes of our body. Dominik Styk‘s work spill I sip is based on his experience with gardening, which is a reaction, symbiosis, and parasitism of diverse elements at the same time. His work resembles speculative fermentation vessels and the act of storing and mixing chemicals and organic components. The organic licks the plastic. All the liquid remained trapped inside the canisters, the irrigation hoses dried up and the natural cycles stopped.
The title Remote Effect refers to both the illusory distance or remoteness of the processes described above and the simulated prototypes of the „models“ exhibited here, as well as to the aesthetics of the works, which are not unlike virtual environments – one of the translations of the word remote is remote control. The work of Tereza Kalousová can also be considered a set of an imaginary digital space, whose miniature emphasizes both the alienation and comfort of an anonymous hotel room – a place of short-term stay and a symbol of temporariness. Pavol Godiška‘s carriage made of paper napkins anachronistically overcomes the financially inaccessible image of historical luxury and class status; instead, the author emphasizes manual dexterity, at the same time deceiving our idea of the functionality of the object.

All the works are connected by the illusion of closed, efficient orders, and we can jump between them at will, as if shifting the scale of the scheme.
The Remote Effect exhibition presents a disproportionate landscape, a simulated experiment that allows objects and processes to exist according to their own logic.