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Selected Works
MgA. Jakub Jansa (*1989, Prague, Czech Republic), freely
combines various media, and primarily creates installations and
performances that are responsive to the context of the place. The
work is loosely con-nected to the !imaginary situational manual",
which consists of assigned tasks and subsequent solutions,
solutions in response to events incidentally discovered. A frequent
theme in his work concerns the search for boundaries between
nature’s uninhibited occurrences and the artificially-made world.
He graduated in the May of 2016 from Supermedia Studio at the
Academy of Arts, Architecture and Design in Prague, under the
guidance of Federico Díaz and David Kořínek.
2016 →
Better Ideas for Life 2, Karlin StudiosPrague, CZ (G)
TeseractAMU GalleryPrague, CZ(G)
Better Ideas for Life 1,Ausstellungsraum Klingental, Basel,
CH(G)
Name of the project is project itself, Czech Center, NY,
US(G)
2014 →
Holding plastic bag containing my positions II, UKG, Prague,
CZ(S)
Watch Out, Engstligenalp, Bern, CH(G)
2012→
It looked different in a dream, Klementinum, Prague, CZ(G)
Koriandrový tunel,GHMP, Prague, CZ(G)
2013 →
Conductor, Prague, CZ(G)
Umprum 2012, DOX, Prague, CZ(G)
2015→
EngstligenAlp, StartUp, GHMP, Prague, CZ(S)
Vystřelený šrapnel uklidní pozorovateleCzech China Cont.,
Beijing, China (G)
Enter 6, Galerie NTK, Prague, CZ(G)
P.J.S., Galerie NoD, Prague, CZ(G)
How not to want anything,4+4 Days in movement, Prague, CZ(G)
Holding plastic bag containing my positions, Umakart, Brno,
CZ(S)
Industrial Revolution, VP1, Ostrava, CZ(G)
Model, R33 galerie, Prague, CZ(G)
Nanovo, Galerie kaluž, Ostrava, CZ(S)
jakubjansa.com
2016: MgA - AAAD Academy of Arts, Architecture and Design in
Prague, Studio of Supermedia
[email protected] 420 777 343 653
Contact
Jakub Jansa
Exhibitions
Education
Jakub Jansa 1
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Jakub Jansa in his work uses scientific procedures and
relatively exact visual records. He is not lim-ited by mere
transformation of personal fascina-tion with scientific research.
Jansa’s approach to artistic creation does not allow the viewer to
remain only in his ordinary, usual interpretations and categorized
perceptual constants. The view-er’s active participation is
expected and not lim-ited to only physical interaction. With the
help of various media, he modifies the intensity and direc-tion of
our attention and perception. Inspection of human consciousness,
awareness of human body and its perceptual limits, is not only the
sub-ject of Jansa’s work, but also an important part of the
recipients approach to it. The Model project is significant. A gust
of wind (as a main narration) is projected on silk with exact
programmed intensity and corresponds to the physical experience of
the author. The abstract, and, in a sense, elusive form does not
disable the imaginative activity in which we particpate, instead it
anticpates the nature of our future confrontation with similar
events.
Another strong impulse in the active process of uncovering the
deeper meaning and qualities of the human psyche can be highlighted
though contradictory photographs in a landscape Engstli-genalp
plateau. By using fragmented and phased figures in movement, Jansa
is able to create
authorship of visual allusions as well as aesthetic of
algorithmically precise parametric design, all within a natural
backdrop of a gradient mist van-ishing into a rock horizon. In this
very specific penetration of various visual elements, emergent
atmospheric photos can be found with a a quality of perception that
is unable to specify. In regards to his work, Jakub Jansa adheres
to the the con-cept of “Processual performance”. Just as there is
no way to grasp the unchanging nature of the wind, but only
perceive a level of intensity change in his work, he cannot talk
about the unchanging essence of artworks. Their origin and
reception is a creative process involving awareness of the changes
in the background of our past and pres-ent experiences. Perverted
tendency of playing God”, which Jakub Jansa discussed in connection
with the project of programmable caves. Accept the following
historically informed interpretation with a sense of slight
exaggeration. God does not allow us to glimpse upon the true nature
of things (or their future development), but upon works of art and
vision, which turn the human con- scious-ness to oneself, the
potential for the path leading to it. On this trip, which is also
the goal, we can ask the same question, which brings us to this
text.
Text by: Michaela Novakova
Modification of The Attention Vector
Text
2
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Spiritual Fitness is a physical practise developed for Academy
of Art, Architecture and Design in Prague (AAAD), presenting its
complex self-development
programe, in a form of public seminary. It is based on three
video lessons.
Spiritual Fitness (installation, videos, objects) 2016, mixed
media
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Spiritual Fitness, installation view
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Spiritual Fitness, installation view
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The installation of sculptures, depicting the presen-tation
tent, where you can see the first video from the series spiritual
fitness - Two minutes. The instal-
lation is made from copper tubes, that represent the heat
conducting material.
Dream Building (sculptural installation) 2016, copper pipes,
plastic foil, headphones, tv
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The basis of the exhibition Book Report is to build dig-ital
archive of all the books (1,500 items) awarded in a competition
“The most beautiful Czech book” over
the past 50 years. Books are scanned, stored and up-loaded
online daily by our digitizer laborer working by a predefined
manual, inside of the transporter.
The Book Report (exibition concept) 2015, collective project
with Lukáš Kijonka and Petr Babák
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The Book Report, installation view
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Appliances (site-specific) 2016, collective project with Jan
Nálepa, mixed media
We are building a situations in which standard household
appliances has been uprooted from their
original function or they have to deal with their newfound
personality.
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Appliances, installation view
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Zone1 (procesual performance) 2012, plant, EEG, plotter, black
markers, wall: 4000 mm x 3200 mm
The only thing left thing in the room is the houseplant. I
installed a device that reads and records informa-tion from the
plant as if it were a computer hard
drive. After 21 days the memory of the room was restored by
transcription on the wall.
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It absorbs evidence of my surroundings into itself. It responds
to me. We fall asleep together at night and breathe the same air.
Only we do not understand each
other, yet. For example, trees can communicate with each other
from one side of the forest to the other. I would like to partake
in a conversation like this.
Alphabet (performance concept) 2015 - present, biofeedback from
plant tattooed on skin
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Zone 3 (Site-Specific) 2014, plant, biofeedback EEG, plotter,
dremmel, iron board: 4400 x 3200 mm
The device captured biosignals from the plant in a noisy
environment. Its internal language was en-graved by a vertical
plotter onto an iron board. The
process took 15 days. After finishing, the visual re-cord
disappeared under newly grown rust.
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Zone 3, installation view and drawing detail
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Zone 2 (site-specific) 2013, plant, biofeedback EEG, plotter,
white markers, wall: 4000 x 4300 cm
In a closed room absent of light or water, a device transcribes
the biosignals of a plant onto the gallery
wall until it dries up completely. The process took 28 days.
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Zone 2, installation view
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Model (procesual performance) 2013, anemometers, controlled
fans, screen: 320 x 180 cm
As I ran, I recorded the sensory feeling of air flowing around
me with anemometers placed on my body.
Afterwards, the experience was recreated using electronically
controlled fans and a loose canvas.
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Click for Video
►
Model, installation view and performance
https://www.youtube.com/watch?v=U5A-7AXR2sk
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Engstligenalp (architectural concept) 2014, installation,
painting, texts, mixed media
A plateau called Engstligenalp is situated at an al-titude of
2000 meters above sea level south from Adelboden in the Western
Alps of Switzerland. It
is a setting for a visionary project, whose aim is to install a
device here which in a few thousand years would build a complex of
caves.
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Pernament Presence (video) 2014, iPhone 5, full HD
The resulting picture is confusing. Experiencing the fluid
world, which blends elements of a digital simulacrum and general
reality, makes it difficult to
distinguish if the resulting image is formed by post-production
manipulation or it’s just picture of a real environment.
Click for Video
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https://www.youtube.com/watch?v=4fNhf0DIqwE
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Ideal Form of Reality (performance) 2014, cups, spoons, time,
adhesive, dimensions variable
The goal was to bring found objects to equilibrium. The
surrounding activity within the space hindered me from achieving my
goal, thus I achieved the
scene with adhesive, which in turn inspired calm-ness in those
who encountered it.
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In the Kitchen (installation) 2013, glue, silk paper, table,
dimensions variable
The common way of working en plein air is to create monumental
objects in a landscape. I responded to
this with my version of the monument placed into domestic
conditions.