Pavel Korbička & Lucie Vítková
Acoustic picture 11
The exhibition in Fiducia should present
the transformations of the phenomenon of notations and their paraphrases that
usually mean transformations of some characteristic aspects of the traditional
musical record. However, this time we made a discovery that recently there has
been also a new relation between action and visual and sound qualities
emerging, very differently original one. In their collaborative work, Pavel
Korbička (1972) and Lucie Vítková (1985) can perhaps be taken as successors
only of Milan Grygar’s acoustic
drawings that were at his time, in the 1960s, accepted with great embarrassment
(coincidently, I talked at the opening of his first solo exhibition in the Brno
House of Arts….).
Meeting the
already outstanding personality of Brno - Lucie Vítková who has successfully
graduated composition at the Brno JAMU with Martin Smolka and who presented
herself as a fascinating improviser at many exhibition openings where she was
lead by another her JAMU tutor, Jaroslav Šťastný – brought Korbička to
considerations how to create directly using rubber strings some kind of
minimalist installations where she could let free her musical abilities: the
results were so authentic and weighty that the duo was offered a solo exhibition…
For Ostrava, we picked a traditional
white gallery room at first, but finally we favoured the non-traditional but
completely unique space where majority of the main concerts take place. Only
doing these investigations, Korbička has found that the entire building is a
work of one the most significant Czech architects, Jaroslav Fragner and even
though it was constructed in less friendly times, he gave it all his best of
his functionalist experience: a fascinating composition of four massive columns
that catch one’s attention right at the foyer.
And Korbička was captured also by the
possibility to prepare one installation behind the house where there is a
stage. He wants to hang on it a large white sheet whose corner and centre will
be again connected by the string lines anchored in a serial arrangement in the
centre of the circle formed there by white tiles. The Ostrava
Days will thus present a live, just-at-the-moment emerging shape of a new
intermedial work connecting the lapidary syntax of Pavel Korbička and the
bodily aspect as well as the composer and improviser abilities of Lucie
Vítková.
Jiří Valoch
(Reduced text, you can find the original in Ostrava Days 2011 PROGRAM/MAGAZINE)
