Entry-No-Entry, 2009

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Exhibition detail
Entry-No-Entry
2009
Curator: Ľudmila Poláčková
Venue: Gallery of Arts, Nové Zámky (SK)
The "Entry-no-entry" project in the Nové Zámky's Gallery of Art is the first autonomous presentation of Stano Masar in the city. The Exhibition presents objects already existing in a context with new, site-specific installations. Author develops here a dialogue with a space as an art medium in a full content. That may on a first sight imply that the exhibition in Nové Zámky is meant to be seen as a doors-and-handles display, but a receptive spectator gets an unique possibility from the author to imagine and mold the meaning of these everyday reality objects.

Masár naturally suggests his personal intent of creating individual artworks in small details, which at the same time reveal countless possibilities to interprete author¢s attempt - this fact is one of the identification features of Stano Masár¢s conceptual activities. He belongs to authors who expose their artwork to permanent grow and to critical re-evaluation, and therefore enriches contemporary art scene. His work goes out from conceptual, even from post-duchamp¢s art trends - even thanks to the fact that he often connects things that are unrelated and impossible, into meaningful statement.

"Masar¢s" aesthetics is based on paraphrase, humour, graphic design implementation, (un)clear symbolism and manipulation. He processes all these factors in various media outputs, and exactly these outputs are the only feature of his natural human meant neoconceptualism.

Individual inventional perception of the gallery space is delicately "decorated" by objects that - each one of them - have its place in our mind thanks to situations from everyday life. In this point - space - place our rare imaginations/visions take place, which sometimes can verge with an absurd dream, where a door leads into a white wall, or it has a handle made out from a finger, or a handle with a "curved nose"...

Masar is trying to interrupt our fixed ways of reality perception and via his artwork he enforces us to think about possible change for a while, to confront it and to try to interprete it. Out of each object he intentionally picks up generally known iconical signs, by which we know these objects and by which we differentiate one from another one. He transforms these attributes into a given artwork - which takes features of a "functional" non-art original, as e.g. above mentioned doors, handles, plugs, space heaters, furniture objects, terrariums with dissected gnawers etc.

Uncertainty and doubts have an overall presence in Masar¢s work, as this spacious, visually attractive bunch of corridors and stairs of a space can be understood even as a metaphor of our life,  which often brings us different dead-ends and complex situations similar to Minotaur labyrinth.

A spectator is being offered various views: on a first sight undistinguished electrical plugs, from which - instead of electrical voltage - fingers in different forms come out (or come in) /Overpressure of Being 2008-2009/, or another view - as if by an accident exposed gnawers in terrariums /On the Edge 2009/ force us to think about how these gnawers have got into it, and if by a chance it could not be a warning signal of an incoming danger that often waits for us (?).

Then clearly stated manifestos "this is not a door" (Entry-no-entry 2009) which accompany us through the exhibition as simulacrums questioning their functions fortify by entry into another reality.

Interpretation undermeaning of exits, entries and restrictions are a leitmotiv of this exhibition. Author modifies variously arranged doors disposed in the space - these are probably most commonly combined as entrance / ascension, connecting / separating, break point of spaces in our life. These are questioned and confronted with witty undermeaning of concept of various dimension (of reality) also interactive 3D animated projection (Entry-No-Entry, 1998-2006), where a player passes various spaces and corridors where doors variations with no use are installed. Door objects are appearent shorting from one reality to the other one and cosily tease with minimalistic tendencies of art at the same time.

Exactly a purity of concept idea together with briefness of minimalistic shape is most readable in new works (Life is Change, New stories, 2009) where Masár places "new object of his interest" - a heater - into different, to spectator odd facticities. The whole dialogue of the author with a spectator is at the end imaginaryly concluded (and opened) by furniture objects (tAble Setting, 2000). These with door remaining in our mind are as a last question of this exhibition given by author we have to answer ourselves.

text by Ľudmila Poláčková