Feriancová, Petra: Every Day as an Artistic Act 2014


Petra Feriancová


Lately, during every new meeting with Květa Fulierova, I feel it is a historical moment. Květa hands me the photos from our last meeting. Although the documentation of everyday has now, during the never ending self-observation on facebook and its technical simplicity, turned into quit a common fact; it has devalued reality into a virtual masquerade. The outcome on paper, in effect the embodiment of the photographic medium, appears too complicated. Therefore photography has, in fact, become in the right sense of the word, an exclusive medium and also a way of archiving. We can say that Květa’s photographs are the basic element of Koller’s work. Relentlessly and readily, she documented most of their time spent together ; the travels, the work, the meetings of artists at Kudlakova street number 5, as well as the games for their grandchildren that they invented. The pictures later became the basis to Koller’s key artworks. At the same time, they were very spontaneous and simple ideas. Probably because she was the one behind the camera, Koller, in the past quite a closed person, acted more relaxed. Along with full shopping bags, Květa would bring home huge amounts of little photographs from the local store, which Július would then sort out and post produce. No moment of Květa's life stayed without a record. It was as if she and Koller orchestrated some kind of a register, a testament to history. It seems that in Koller’s and Květa’s case, each day in the life of a human being was meaningful. Every day becomes an artistic act. The man of that era, my father’s era, had boundaries on the left and right, in fact on all sides, but he also had the wide sky above. This Sky was the Sky of the second half of the last century, with the first big travels in Space.The limited opportunities created a certain feeling of security in the sense that art was not and never would become a tool to make a living, and certainly not the way to get rich. And because of that, artists experienced more creative freedom. Koller’s colourful paintings made for the Dielo shop are, therefore, not supposed to be understood as halfway solutions. Gallery Ganek’s project also comments on this fact, but goes much further, beyond the scope of our geopolitical situation. Even beyond Earth. Koller and his companions create out of a real necessity to create, not because of the obligation to make a living. Koller does not only deal with the intimate sphere of the everyday. He also goes out of his apartment, to the corridor, out to the street, and each day uses all possible ways and rhetorics of the contemporary bureaucracy. He uses the prescribed postal forms, certificates of posting, travel tickets, the daily post and commonly available school supplies for children. Green stamps of individual letters simulate the handwriting and at the same time mimic the typical bureaucratic instrument. Sometimes it seems to me as if Koller himself wanted to be part of this limited world; the world closed to the artists. The interesting part is the paradox created by Koller: the more personal the situation, the more exalted the administration. Myself, I would take photographs of nothing, just to measure my time. The outcome was not an image, but a situation where I wasted the photographic material and my own time. Within his daily activities, Koller creates long-term projects, which he comes back to even after decades. His archive is his source, it is not the artistic outcome. The outcomes are changeable; the themes persist, even though they are unofficial. Július and Květoslava, their love and common life are a real creation. They do not discriminate between holidays, weekends or pauses. That which they live in, and live for, is one big work of art.