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In a space filled with sound, light, and the color white, an astonishing white object expands, inviting contemplation and curiosity. The delicate crevices between the roughly cut blocks beckon a glimpse and the revelation of something hidden. The site-specific installation Index 2, like Pandora's box, is rich in mystery and intrigue. However, those who attempt to open it will not find destruction and doom, but rather the truth hidden in simplicity.
The work of Jan and Petr Stolín is inspired by the minimalist movement. They draw from elementary attributes and simple geometry, achieving maximum effect. By eliminating all that is unessential, they allow for a more intense perception of the fundamental and important components of the work and invite reflection on space and light itself.
The main idea of the multisensory installation Index 2 is the reinterpretation of space. Upon entry, the typically spacious and airy Swimming Pool Hall transforms into a cramped, fog-covered place where the sense of space becomes confused. The space loses its original meaning and requires interaction and movement to find a new sense. The uniform massive white wall of an impersonal character shatters under closer inspection into a seemingly endless rough structure. The texture of the material, however, adds a personal dimension to the piece, revealing traces of the artist – traces of human intervention and touch. The omnipresent and all-encompassing industrial sound creates tension, on the edge of which the entire work Index 2 balances. The trapped tension finds release only at the very edge of the object, where it evaporates in the form of a misty veil.
The Stolíns work with both very present materials – with rich texture and strong physical presence – and materials that cannot be touched or grasped: sound, light, fog, and empty spaces. The empty space is something we do not actually see. What we see are physical things that define the space – in this case, four white walls over six meters high. Looking into the depths of the monumental block brings a feeling of boundlessness shrouded in fog and sharp white light, evoking a convincing impression of nothingness. The concept of emptiness and nothingness is also supported by the recurring emphasis on the color white, which in some cultures may suggest contemplation or infinite space. Such a considered white color is not devoid of meaning but becomes meaningfully charged.
Heidegger argued that he arrived at the assertion "nothing is something" through the premise "if nothing is (being) nothing," then "nothing is something." He argued that there must first exist an absolute "nothingness" for any "negation" or any form of negation to occur, and it is through encountering the negative that the contrasting positive is affirmed. Emptiness is not emptiness because we come from nothing, in the form of the Big Bang and stardust, and yet we have the power to be everything – art is sometimes a place where we can remind ourselves of this.
The resulting all-encompassing experience is open to viewers for their own interpretation and understanding.
The work of Jan and Petr Stolín is inspired by the minimalist movement. They draw from elementary attributes and simple geometry, achieving maximum effect. By eliminating all that is unessential, they allow for a more intense perception of the fundamental and important components of the work and invite reflection on space and light itself.
The main idea of the multisensory installation Index 2 is the reinterpretation of space. Upon entry, the typically spacious and airy Swimming Pool Hall transforms into a cramped, fog-covered place where the sense of space becomes confused. The space loses its original meaning and requires interaction and movement to find a new sense. The uniform massive white wall of an impersonal character shatters under closer inspection into a seemingly endless rough structure. The texture of the material, however, adds a personal dimension to the piece, revealing traces of the artist – traces of human intervention and touch. The omnipresent and all-encompassing industrial sound creates tension, on the edge of which the entire work Index 2 balances. The trapped tension finds release only at the very edge of the object, where it evaporates in the form of a misty veil.
The Stolíns work with both very present materials – with rich texture and strong physical presence – and materials that cannot be touched or grasped: sound, light, fog, and empty spaces. The empty space is something we do not actually see. What we see are physical things that define the space – in this case, four white walls over six meters high. Looking into the depths of the monumental block brings a feeling of boundlessness shrouded in fog and sharp white light, evoking a convincing impression of nothingness. The concept of emptiness and nothingness is also supported by the recurring emphasis on the color white, which in some cultures may suggest contemplation or infinite space. Such a considered white color is not devoid of meaning but becomes meaningfully charged.
Heidegger argued that he arrived at the assertion "nothing is something" through the premise "if nothing is (being) nothing," then "nothing is something." He argued that there must first exist an absolute "nothingness" for any "negation" or any form of negation to occur, and it is through encountering the negative that the contrasting positive is affirmed. Emptiness is not emptiness because we come from nothing, in the form of the Big Bang and stardust, and yet we have the power to be everything – art is sometimes a place where we can remind ourselves of this.
The resulting all-encompassing experience is open to viewers for their own interpretation and understanding.
Regional Gallery Liberec
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