The cogitation that led to the creation of this art project can be explained with the concept of deterritorialization introduced by Gilles Deleuze and Félix Guattari. Deterritorialization implies a weakening of ties between culture and its location, and the transfer of cultural subjects from a particular location in space and time. The exhibited artworks articulate the relations of spontaneous
creativity, collaboration and sharing of cultural customs, moderated in two vastly different environments. On the one hand Hudec focuses on exploring the social environment, and on the other hand addresses overcoming the dualism of disembedding and exile. Eduard Glissant writes: “Whereas exile may erode one’s sense of identity, the thought of errantry—the thought of that
which relates—usually reinforces this sense of identity.”
poetics of relation. A pair of giant sculptures of aquatic turtles not only refers to migration, but—in the context of mutual relation and continuous voyage through time—also carries subjective notions of home and maintaining relations to home in living culture. Subsequently, these relations are reflected in other segments of the exhibition; they are documented in a video from the immigrant neighborhoods of Lisbon, and contrasted in two murals made directly in the gallery space. Some artworks were even created during workshops in direct collaboration with children from the immigrant neighborhoods.
the art world. Thus, he strives to give back an equal share, although his efforts are not always successful. He aims to provide the participants with an experience, for instance through a pottery workshop that introduces a generation growing up in an African-American hip-hop culture to something as traditional as the pottery from the island of Santiago. Thus, the co-authors exchange their work for some other value. In such events, the poetics of relation invites the participants and hopefully also the viewers to consider their bond towards location, language, and work, while pointing out the paradox of economic prosperity faced by our society.
Reset in Banská Štiavnica highlights these timeless partnerships and present pickup trucks used there as private buses. In their production, the residents use dialects of local creativity alongside the global brands. Oto Hudec consistently expands the anthropological model of art, and his installations lead
to self-reflexive processes within our culture through appropriation and deep understanding of the Other.
Daniel Grúň, curator
Translation: Martina Petáková