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MoUCHY – opening

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MoUCHY – exhibition

artVIRTUAL.aRT

The MoUCHY art group came to its existence in 2018 in House No. 20 located in the heart of Pilsen, Czechia. During the summer art residency...

„THE FUTURE OF THE PAST“

artVIRTUAL.aRT /2021

The MoUCHY art group came to its existence in 2018 in House No. 20 located in the heart of Pilsen, Czechia. During the summer art residency, the group name originated from a harmless complaint of an elderly inhabitant of the house "they don't clean up, they don't sweep... and (they) fly here like flies (MoUCHY)", that was told to be overheard. The fourth joint exhibition of the MoUCHY art group comes a year later than planned and in a completely different space. In the virtual gallery. This is the first exhibition for art.VIRTUAL.aRT.

All three authors, photographers Denisa Blatná (Brno, Czechia), Katka Pračková (Mazunte, Mexico) and painter roman turcel (Prague, Czechia), they show the fragments of their series that are not yet completely closed. Still in process. Their lives and work have been affected by recent circumstances. Everyone in this art group is still fulfilling the future vision of their own personal project, the impetus of which is to revive the past and make it accessible to the future. For themselves and for others. This link is palpable in the work of each of them.

Denisa Blatná searches for emotions, attitudes and destinies, in the bloodline of ancestors, coming from Ukraine. The red skein begins to unravel from the nearest ones. In the photographs My Father, Me, My Sister, My Children, she tries to analyze their relations from the point of view of the photographer, who, however, is the author herself, and thus cannot achieve an independent view. It is not to the detriment, on the contrary, by interfering in the process, her work acquires a certain authenticity. A unique relationship to each person photographed is reflected in her final work. Well, the red (color) blends in like an artery. Katka Pračková embodies women with the beauty of exotic flowers. She rediscovers her friends and close ones in their selfie portraits, in the way they see or want to see themselves. They are sending her the most eloquent of themselves. And Katka sees them as flowers. She assigns them the emotion, color, and smell. As if to them, she did not insert, but exposed their soul. It thus makes available to the viewer, an authentic and confident woman, beautiful in her uniqueness. In its true essence. The author tries to go to the roots so she can find a flower. roman turcel searches for references in numbers that he adds to his arteglyphs. He tries to convey to the viewer an emotion equal to the meaning of the displayed number through a gesture, a figure on the canvas and a symbol - a logotype - a variation of a personal brand. It is an intimate dialogue with the viewer. The ancient view of these references is, of course, changing, and here the author does not resist his own interpretation of the present era. Even confidently, without shame, as if to claim that he is the one who has the right to do so. The right to communicate.

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