Typografie

This exhibition is about Typography as a way of thinking. The set of exhibited works is an associative, intuitive reaction to this term as a metaphor of related methods. Some works are dealing with type design, the structure of others follow in content or form processes related to arranging type and type design as a specific approach.

Focus on the form of a sign could be indeed called typographic. The aim here is however rather to erase the content, the "object" which the sign represents and thus read it in a way as closer to the state if we wouldn't know how to read. Similar to the manner in which for the first look B is voluptuous and hedonistic, O balanced and royal and Z expressive.

Others favour to modificate individual sign and the emotions and associations those modifications brings along with them. Text, so long considered as immaterial abstract code, always have to take, for us to be able to read it, the very material and concrete form, that is never neutral. Typography is consequently also the metaphor for change and parallel preservation, as letters and numbers can take different visual forms but still keep their original meaning. Typography is a work with an open form, something having a specific modifiable shape without loosing its meaning.

This readability, something, I would like to avoid to call "essence", is also something constructed. Therefore this formal construction can be pulled, pushed or broken, being merged into background or inside of different compositions. Sign is here considered as a real thing instead of an abstract idea. So as the company logo - label - is a real commodity. Method of labelling, imprinting, a certain way of stamping the "real thing" below the sign, suggest exactly the victory of the symbol over the object. The iPhone is first of all an iPhone and only afterwards a smart phone as much as Nike are first of all Nike and only secondary shoes. Label becomes the "thing itself", it overtakes the thing's materiality and control it.

But Typography is also overally plane, flat, equal and framed but in the same time based on a linear movement of the eyes, movement which is at the fundament of time perception. Some are fascinated or irritated by the geometrical grid, typography's symmetry and regularity, the opposite of our imperfect, organic shaped body. Typography is however also the familiar experience of the horizon and the vertical of our perception.

It is the flatness and the contrast between foreground and background which might resemble the flatness of the digital image. Artists might be pointing out that the experience of display interfaces, experience so important for understanding nowadays reality, is also essentially flat. None of the operation systems running on our devices took the step towards a true 3D interface. The HTTP protocol, crucial for the experience of the Internet, is still fundamentally based on hypertext. The screen in its origins imagined as a window opening to an utopic virtual world, still remains rather an open page of a book.

Typography however pervades also the stage design of the exhibition inside of the gallery space. Artworks are ordered according to the direction of reading and in this direction they creates specific meaning. In the same manner as letters that makes single words and words that compose the whole text - one of the infinite number of their meaningful organisations. Similarly to a text, that is mainly a sequence of arguments, standing in a way "behind" the words themselves, also in this exhibition is the relations between singular artworks and overall theme the act of shifting.

This exhibition is an attempt to materialise and scenographically realise text as a structure, form and process.

Michal Novotný


pohled do instalace
pohled do instalace
pohled do instalace
pohled do instalace
Jan Brož, Richard Nikl
Jan Brož, Richard Nikl
Iede Reckman
Iede Reckman