Wojciech Kosma "Who Needs a Sensitive Son?" in collaboration with Šimon Hrábek and Tomáš Kopáček
Výstava | Exhibition: 29. 3 - 5. 5. 2019
Vernisáž | Opening: 28. 3. 2019 - 18:00
Hope Scandal: Performance - 19:00
Performances every day (except Mondays and Tuesdays) during opening hours.
Tomáš Kopáček: Wednesday, Thursday and Friday - 15:00 - 18:00
Šimon Hrábek: Saturday and Sunday - 14:00 - 19:00
Kurátor | Curator: Caroline Krzyszton
"Who Needs a Sensitive Son?" is a tongue-in-cheek title of Wojciech Kosma's exhibition at Karlin Studios, created in collaboration with Šimon Hrábek and Tomáš Kopáček. The show is a staging of a simple and intimate situation—a guitar player (either Tomáš or Šimon) plays a guitar in proximity of a theatre curtain—though every element also simultaneously plays its own separate part. The guitar is a half-sculpture half-instrument handmade out of a handful of silhouettes based on the artist's personal image archive. The music—a collection of melodies composed by the artist—is continuously reimagined during the tens of hours of the players' interpretation. The curtain is a surface for a poem—a naive story that ridicules fascist ideology and imagines an ease of its transformation into inclusivity and nuance.
Wojciech is best known for staging performances that walk the line between private and public appearances, authenticity and fiction and—formally—between dance, theatre and visual arts and "Who Needs a Sensitive Son?" similarly explores the tension between different modes of interpretation and engagement. The performers offer dissimilar and idiosyncratic reworking of the compositions, evolving them either towards abstract atonality or prepared guitar noise. The out-of-proportion guitar appears uncomfortably captured midway between a DIY relief and a functional musical instrument. Finally, the curtain and the words carved into it seem to exist in opposition—while the former hanging diagonally across the gallery divides the space, the latter insists on evoking offhand and funny images of coming together and equality.
Wojciech Kosma is a performance and music artist. His works were presented, among others, at Chisenhale Gallery in London, Transmission Gallery in Glasgow, Wysing Arts Centre in Cambridge, Museum of Modern Art in Warsaw, Schinkel Pavillon in Berlin, Los Angeles Contemporary Exhibitions or Interstate Projects in New York. Wojciech is a founding member of artist TV collective East London Cable and a free jazz duo Hope Scandal (together with the drummer Bobo). His poetry and music is released under the moniker spalarnia.
Šimon Hrábek is guitarist, composer, producer and session musician. Šimon studied production and dramaturgy of music at UJEP in Ústí nad Labem and musicology at FF UK where he focuses on medieval and early renaissance music. He played in the alternative rock band Sox in the Box and a solo project DREN. Currently, Šimon is working on four new projects each corresponding to the four seasons of the year and four of his creative approaches and personas: Digital Persona, Subterranean, S-He and Hangman.
Tomáš Kopáček is guitarist and composer, currently part of Black Tar Jesus with which he released three albums. His previous project include an instrumental kraut rock band India and electronic band Tempelhof, both of which were touring extensively in Europe. Tomáš created the music for Everything Means Nothing for Me, an exhibition by David Fesl, Kateřina Holá and Jiří Kovanda at UMPRUM and collaborated with Martin Kohout on performative exhibitions in Future Gallery in Berlin and Futura Gallery in Prague.
Hope Scandal is a music project by artists Bobo and Wojciech Kosma. Drums, guitar, and occasional vocals form the basis of their experimental free jazz improvisations, which are driven by Bobo's percussion, interlaced by Kosma's guitar, and narrated by conceptual poetry. Drawing from their performance art backgrounds Hope Scandal produce site-specific performances that test the archetypal format of the band and the conditions of the exhibition space.
Wojciech Kosma's exhibition has been organised in the frame of a residency supported by Visegrad Fund - visual and sound arts.