image text special shop

'Deposit of Signs' by Martin Lukáč at VUNU Gallery, Košice

article image; primary-color: #937D68;
article image; primary-color: #9D8B81;
article image; primary-color: #A08677;
article image; primary-color: #A0826A;
article image; primary-color: #997E6D;
article image; primary-color: #92694B;
article image; primary-color: #A07A55;
article image; primary-color: #947556;
article image; primary-color: #8B6C3E;
article image; primary-color: #AA8D6F;
article image; primary-color: #967238;

Martina Lukáč’s present exhibition further develops several concepts outlined in his previous installations (VISVA.CO, Galerie Kabinet, Brno 2015; MacGyver, Photoport – Centrum vizuálneho umenia, Bratislava 2017; Special Feature, Galerie TIC, Brno 2017). Faithful to expanded painting strategies, he again creates a hybrid semantic environment that allows him to present paintings in a non-typical context. This process stems from his re-definition of the traditional concept of painting exhibition and of the understanding and position of painting in contemporary society. By confronting these notions and actively exploring new combinations of canvas and objects, he acknowledges a wide range of impulses that have shaped his work, as well as his interest in playing with the meanings of signs and motives, both old and new, reflected in various aspects of today’s culture. The exhibition space thus creates a rather surprising visual and semantic framework in which images - on canvas and beyond - are re-defined.

The installations created by Martin Lukáč not only combine high culture with the popular ‘trash’ aesthetic, but also confront the audience with a visual experience that is radically different from their expectations and previous experience. Far from unexpected aesthetic encounters, famously described by Lautréamont ("beautiful as the chance meeting on a dissecting-table of a sewing-machine and an umbrella"), these are radical juxtapositions of radically different visual worlds. Lukáč’s combinations of hanging paintings, paintings as objects, containers and visual smog, create an environment governed by the author’s visual preferences, confronting the visual aspects of galleries with those of the outside world. These pieces also reflect elements of speculative realism aesthetic and contemporary shift towards object. However, we should not overlook the author’s awareness of the complex relationships between the original, its copies, series, author’s gesture and unified trademarks.

17.8.18 — 20.9.18

Curated by Peter Megyeši 

VUNU Gallery 

'Discounts' by Egon Van Herreweghe at CONVENT, Ghent

'Never Early but Always On Time', Group Show at Apartment 13, Providence

'Daybreak' by Elisa Barrera at Lucas Hirsch, Dusseldorf

'Hat Box' by Julie Malen at Catbox Contemporary, New York

'19742 Ceremony' by Dishon Yuldash at Daipyat, Voronezh

'STILL MAGIC', Group Show at Redkie Iskusstva, Saint-Petersburg

'Methods for Regional Stewardship' by Will Bruno at Smart Objects, Los Angeles

'In Flames' by Inside Job at Lily Robert, Paris

'Spas Setun Dystopian Party Collection', Group Show at Spas Setun, Moscow

Money Gallery at BIENVENUE ART FAIR, Hotel La Lousiane, Paris

'Ok boomer', Group Show at Plague Space, Krasnodar

Greg Meza at ANDNOW/​WAREHOUSE, Dallas

'Von der schenkenden Tugend', Group Show at Zarinbal Khoshbakht, Cologne

Matthew Peers, Max Ruf at Lady Helen, Berlin

'Green changed to white, emerald to opal, nothing was changed' by Vadim Murin at

Chamber Realm at Dungeon, Detroit

'Bomba de humo (cloud point)' by Matias Solar at Relaciones Públicas, Mexico City

'Nocturne No. 1' by Brian Oakes at Mery Gates, New York

Next Page