Oskár Čepan

SOLO EXHIBITIONS: 2017 – Nemám nič, Galéria ± 0,0, Žilina, SK; Veľké plátno, Galéria 19, Bratislava, SK; 2014 – Nic než plocha, Galerie SPZ Praha, CZ; NIE ÁNO NIE, Krokus Galéria, Bratislava, SK;

GROUP EXHIBITIONS: 2018 – Stála expozícia Stana Filka v SSG/ Časť druhá: František Demeter a Tomáš Džadoň - PAVILÓN, Stredoslovenská galéria, SK; #OK/XII. Trienále malého objektu a kresby, Galéria Jozefa Kollára, Banská Štiavnica, SK; 2017 – Konstruktivní lyrika, Galerie města Plzně, Plzeň, CZ; Nový Zlínsky salon, Co je současný obraz?, Krajská galerie výtvarného umění ve Zlíně, Zlín CZ; Obrazy toho čo zostalo, Krokus Galéria, SK; 2016 – Letná výstava 2016, Krokus Galéria, SK; Miera abstrakcie v konkrétnom živote klesá, Stredoslovenská galéria, Banská Bystrica, SK; 2015 – Výstava finalistov Ceny Oskára Čepana 2015, DIG Gallery, Košice, SK; Rozum a vzdor, Východoslovenská galéria, Košice, SK; Letná výstava 2015, Krokus Galéria, SK; 2014 – VII. Zlínsky salón, Krajská galerie výtvarného umění, Zlín, CZ; Letná výstava 2014, Krokus Galéria, SK; 2012 – Letná výstava 2012, Krokus Galéria, SK; 2011 – 1+2+3+4=10, Dom umenia, Bratislava, SK; Sharing a room (s Ch. Bazant-Hegemarkom), Krokus Galéria, SK; 2010 – Ateliér maľby Koceľova 23, Dom umenia, Bratislava, SK

ARTIST RESIDENCIES: 2017 – BANSKÁ ST A NICA Contemporary

Statement

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Curatorial statement

“In the work of Demeter there is an intentional deestetization. The process of creation approves itself outwards, too. The theme becomes the imperfection, undesignedness, incorrect resolution. Breath of turpentine, still wet painting suggests the feeling as if the author would be finishing the work even now, during the exhibition. Clear differentiation between the artistic genres (painting, object, installation) is impossible. It is intentionally turbid, furthermore enriched with the model of participative presence of viewer during activation of the work. And not just in the process of movement and cancelling of the obverse and reversal side of work. Author works with cuts, he composites the construction of works from fragments, he perforates the painting and created new rifts through it. The quadratic construction of the frame sometimes supports just small colored map of canvas, which is incorporated into it as “an island”. Another time there is a cut in the canvas to create a view into painting (object) and it becomes the tool to observe the surrounding, it determines our perception. Second important moment in the work of Demeter (except of the mentioned thematisation of own in-certitude) is the doubt and search of the today’s meaning of painting, the meaning of the term painting. Painting is not something what the viewer looks passively, it’s an object, which defines the view, which is unreachable from one point of view. It’s necessary to go around it. In this process a formal game starts to develop. If the viewer accepts it, he gets into the activating model, he enters in the communication. The main precondition to understand the works is the spontaneity, vividness and finally the joy from formalism, too. “ (extract from the text of Jan Kralovič: “Painting of the impermanence "(Yes No Yes of Frantisek Demeter)