Vaclav Pozarek

Borders, meaning, splitting. Equal distribution, equal amount (of the same). Cutting introduces a short-lived chronology that ends as soon as the cut is completed. Functional chronology and chronological functionality. To cut is to perform a temporal and physical ending. What follows are timeless suggestions, separate parts (of a whole). Halb offen halb voll. Completely full of half-full, everything as always full. The works shown at Kunstverein Bielefeld in the exhibition TUC (Turnstile Utter Chaos, 2021) take on an encompassing pose and position. Their functionality however is not twofold (open – closed) but exceeds this dichotomy. The works appear to connect through the architecture where they continue to continue. Their quality lies in the tragedy of their functional ambiguity: never closed, never open. A “mental negative” through topological negation. A fence delineates territory, but these works embody this very characteristic; it seems, they have trapped their own meaning. These fence-like structures repeatedly produce new potentialities by defying the preceding ones. This system of proposal, rejection and creation reflects the underlying structures of art production itself, which is a reoccurring narrative in Pozarek’s practice. The wooden dowels that in Bielefeld support the structures are reminiscent of the sculptural elements in Das Eine und das Viele (1998). The title suggests the cylinder as a singular point or Einzelwesen (das Eine) and simultaneously as a multiplicity or Gemeinschaft (das Viele). This formal language continues in the grid pattern that covers the work. Punkt und Linie zu Fläche. Points or views and borders.

Due to the large body of work produced by Vaclav Pozarek, this text takes on an associative approach aiming to trigger curiosity towards the works of Pozarek as well as to avoid an entirely biographical essay.