I HATE YOUR PRETTY CURVES
Curated by Lenore Jurkyová
Exhibition February 25 - March 24, 2016
Project WASSILY- I hate your pretty curves which is already presented by Milan Vagač in the spaces of SODA gallery differs himself from the lately exhibited art production. After a season in which he engaged mostly in drawing and it´s potential, Milan chose to fully dwell on painting as a medium just like he had never left it. Vise-versa in his preverious works, he does not use the painting as a surface but searches for alternatives of the space and unfolds its constructional componets.
Apparently, as we read the title of this exhibiton, author is working with the modernist visuality and language whichis by the help of the following abstraction transformed to the current form. Conotations regarding to production of the artists connected with the interwar era mostly with phenomena of Bauhaus support not the works by themselves but also their description. The name of series Bau refers on one hand to word-formative basics of the Weimar-Dessau school and on the other hand to the way in which Milan approaches the painting. He does not perseive it as an area whose depth is created by optical effects the colour layers make. He literally builds his paintings. Within the scope of the achieved artificial work is Milan using the colour, canvas as well as priming coat as equal elements, which altogether compile into one coherent work. In final the material harmony evokes plasticity of an object.
Side by side these paintings the artist created a mural in the spirit of geometrical abstraction. Its flatness opticaly disturbs with particular paintings, studies anticipating the wide scale work. The painting arises in a painting and disturbs the composition of its primal base.
The proces we are able to see in Wassily objects, is the painting nearly transformed into an object, all of a sudden taking a return motion. Abstract shapes of the iconic chair Wassily from Marcel Breuer remind of the original just by the title, material and the technology of production. After all the only role it plays is to frame the massive bearer of a subtle painting.
Displayed artworks are able to be called ´essays on cavases´. However the topics are quite clear, Milan systematicaly erases dynamics of the compositional shapes on usually wide scales. By the carefull study of shapes, materials and colour, Milan found a new language which he hopefully does not get tired of.
Milan Vagač (*1987) is dealing first and foremost with the drawing. He explores its overlaps and often eliminates it to space, beyond the borders of paper. He is the cofounder of the Magazine X in which he is concentrating on contemporary drawing in the context of middle Europe. Studying the Studio +-XXI by the leading of professor Daniel Fisher at VŠVU (University of fine arts) in Bratislava through years 2006-2012, he is developing a PhD degree at the same university department since 2013. Nowadays lives and works in Prague.