Critique of the new city gallery in Ostrava

Independent Czech experts Rostislav Koryčánek and Michal Škoda, who were invited to an expert discussion at the Fiducia Antiquariat and Club (May 20, 2013), agreed that the new material from the Interest Association Trojhalí is not prepared to a high standard and contains several controversial points (the material is titled Strategic Operation of the City Gallery of Ostrava and its Further Development, March 2013, author Ladislav Kesner).

They also see as problematic the fact that Trojhalí has already presented a proposed exhibition plan to the working group of SMO without a transparent selection process for the director of the gallery having taken place. Both experts described this approach as problematic, stating that the exhibition plan should come from the winner of a selection process, which, given the above-standard amount of 10 million crowns that the city intends to allocate annually to the Trojhalí association for the gallery's operation, ought to be completely transparent.

The proposed exhibition plan was then labeled as of poor quality by both experts, who argue that a city gallery with an annual budget of 10 million crowns should not exhibit world artists in combination with regional artists, students, or Smaltart, as suggested in the new material by Trojhalí's Ladislav Kesner. The city should also have a clearly defined role in the entire project from the outset. The current material from Ladislav Kesner lacks a clear division of powers and a precise status for the city gallery institution.

A video recording of the discussion was made, which can be viewed here:



What was also said at the debate:

Rostislav Koryčánek: If at the very beginning it is mentioned that Smaltart will appear in a prestigious space, one gets the feeling that there has been a fatal misunderstanding. It is as if someone wants to build an experiential restaurant and at the same time wants to sell langoši there because it will bring profit. These are things that cannot simply be mixed without impacting the credibility of the institution in relation to its surroundings. If this were to happen, it is hard for me to imagine that elite European artists would rejoice at the opportunity to exhibit in Ostrava.
Michal Škoda: I would mainly criticize the politicians; that's where I see a big problem. I respect Mr. Světlík, but I see a problem only in the fact that no solid concept is coming from his side. I consider Mr. Kesner's material, presented at Mr. Světlík's initiative, to be very unsuccessful. For me, it is crucial what the budget is and what is being offered in exchange. What is being proposed in Trojhalí's materials cannot work, yet the amount of money is extremely high. What Mr. Kesner says in the material (that there will be a quality gallery bringing top European artists) is something we are doing in Budějovice with all humility – and we have never exceeded two million crowns. My salary is nineteen thousand a month gross. Here, a curator is offered a hundred thousand for Smaltart. If there is a will to invest 10 million in something, the rules must be explicitly defined from the start. It seems to me that the city has released itself to give Mr. Světlík 10 million, and then suddenly hit a wall. Now it is trying to salvage the situation, and additional changes are being made that do not go hand in hand with time. Now, as it wants to open up, a selection process will be quickly organized and someone will be sought. This is wrong from the beginning because the politicians hit a snag and did not anticipate it.

Rostislav Koryčánek: This is not the happiest beginning. The funds have been found, and from what has been said, it appears that the primarily responsible payer will be the city, which is inexplicably suspicious to me. These are enormous amounts, more luxurious than in the Rudolfinum. This amount is absolutely unattainable compared to the House of Art in Brno, which also manages entrusted property, and the program arises from other sources. If there is a willing to release funds – that’s a wonderful thing – it is a great start to sit down at the table and agree that it is possible to establish an institution for 10 million that will reflect new visions for the future of the city of Ostrava. I would take that as a foundation.

Michal Škoda: When I read Mr. Kesner's material, I didn't quite understand it either. I don’t know Mr. Kesner, but he certainly does not operate in the field of contemporary art. I think it’s totally nonsensical. Of course, artists care about the space, but they are also primarily interested in the program. When the conception proposed by Mr. Kesner appears there, he can never get the people he offers. I am convinced of that. It is not just about Smaltart; it is also about regional artists. Nothing against regional artists, but I am convinced that a selection process must come with the vision of the person involved, and conditions must be strictly adhered to if he wants to get those people in. I am convinced that if a good person takes over the leadership here, they can do it. But they certainly won't be dealing with regional artists, Smaltart, or students either.

Michal Škoda (in response to Jiří Jůza's remark, who read the names of exhibitors proposed by Trojhalí at the debate): This is not the prestigious kunsthalle Mr. Kesner writes about. From the beginning, there must be a person with a vision who will take it further. Not that we will first do something and then find someone. No. That is completely wrong. There must be a professional from the start who will open with a great exhibition. That will have tremendous significance for both Ostrava and the region and the Czech scene. The space has immense potential. When I think about what Germans or Austrians would do with it, it is a wasted opportunity. We are talking about some 10 million, but we do not need that much money for such an exhibition program… I want to see Thomas Struth and how he will be brought here in light of the other names and exhibitions proposed by Mr. Kesner; it is impossible; I can assert this after sixteen years. Regarding Smaltart, just a note on what you mentioned about those names – I saw Smaltart recently at Artmix; it struck me as hellish; there was Magda Jetelová, whose work I like, but what she created there seemed rather strange to me. I believe that just a name does not guarantee quality; it is about the principle too. It is an experimental workshop where, even if the Pope were here, there is no guarantee of the outcome. Therefore, to fulfill the program of a prestigious kunsthalle with this debatable result is nonsensical.

Rostislav Koryčánek: I find it harmful, impacting Ostrava itself, that this discussion is, as it turns out at this moment, already seemingly closed but closed within a specified group of people. At the same time, attempts at discussion have been ongoing all this time because the effort for a city kunsthalle is longstanding. There is now an exhibition program already in place without a named director or chief curator. If there is an honest dialog in Ostrava, the establishment of this institution will be much grander and more credible. Right now, I feel completely lost. What is the purpose, what wish does the city have, who will be responsible for such an institution's operation?

Michal Škoda: I highly appreciate what Mr. Světlík is doing here because he is doing it excellently and it is an enormous contribution to the city. If all entrepreneurs, or at least a large portion of them, did for the city what he is doing, it would be fantastic. However, it is wrong when everything is being funneled into Gong, when I think about other related issues. It is a public space, life in the city, etc. If Colours have been built here for years or if Mr. Kotík is doing something here, and all these activities are drained out by Gong, then the city is more dead again. We are talking about a gallery here, but the problem is so large that it has further implications for cultural spheres, including life in the city. The monstrosity Karolina has emerged, which will eliminate all small traders and shops. That is also one of the reasons why the city is empty. Now all culture is shifting to Vítkovice, and the city will be dead. So I would fiercely resist the complete transfer of all initiatives to Gong. We are talking about the concept of the gallery here, but I believe that the entire object should also have a clear vision and concept... Gong should not be used for political meetings. It seems that the focus is mainly on filling it with activities. That is a disaster for Ostrava as a city. The city gallery should be located in the city, and I don’t believe it needs to have 1,000 m². It can easily have 200 or 300. I might be saying nonsense now, but I'm convinced that if there is a will, such a space can be found here.

Rostislav Koryčánek: I feel that there is a fundamental house in Ostrava – Gong, which I perceive as having fundamental energy, redefining Ostrava, a powerful building. But it is also necessary to deal with what it offers and what will be there. Suddenly, the entity that realized that building needs something inside. There has to be participation in that. I wouldn’t mind if there were some clean agreement between the city and the owner of Gong that the city would somehow participate because the city does profit from it. But suddenly, for me, it appears that some smokescreen is emerging here. The question was raised whether the space is suitable. I believe it could definitely work, even though I only know the spaces before the opening, when we went to see them. However, I would have reservations about the facilities there. The exhibition spaces are one thing, but the facilities that should be part of such an institution, if we are indeed talking about a type of kunsthalle... There should definitely be deposits, there should definitely be studios, backstage for preparing exhibitions.

Michal Škoda: It seems to me that there is no vision here. There is an incredible value brought by Mr. Světlík, but it is the value of some place where something new will emerge. However, next to that, the city is still dead, and I believe these things are interconnected. Thus, art should not be contemplated only within the realm of visual arts, but in this case, Gong should also incorporate culture and social spheres, architecture. In a way, I could not care less, but I do because every poorly made bench in the city bothers me; it is a missed opportunity. And this is a missed opportunity; there is a problem with Karolina. There is a problem here, yet the city has potential, and you say there is no will among politicians, but there is a will among politicians to invest money into this. Ten million is an excellent condition, and it is a terrible shame if there is no will among politicians to care about quality, even though there is a will to invest money. It would be a terrible shame if a poor gallery arose. I believe that even if someone came up with a super idea from Trojhalí, people could not say anything, because there would be quality for that money. But if all this money is to be put into something non-transparent, I don't know? Multiple problems intersect here, and I think it is unfortunate to separate visual arts from this context because it has further implications extending into social spheres and is very complicated.

Rostislav Koryčánek: If one were to seek a parallel for what Ostrava is planning, it might be something like the Kampa Museum, where a foundation has been established. The city has some share, and the Meda Mládková Foundation has another share. However, there is a clearly defined relationship between the two, and there is a clearly defined goal that the established entity should strive toward. If what has been developed by Ladislav Kesner is the foundation for discussion, I feel a bit uncomfortable that it is not clear what purpose such an entity should serve, what its meaning is, and what the connections or relationships between the various entities should be. If we were to consider establishing a contributory organization, with which I have experience, I can say that it is one of the suitable forms. Links can be clearly described, and it can be clearly stated what the institution will serve and what tasks it will perform.

Rostislav Koryčánek: From what I have known so far about the planned project concerning the establishment of a city gallery, I am very surprised that it is essentially already baked, and I do not know what could contribute to the whole thing turning out positively. I am rather astonished, and this is again negative, that these are public funds, and the city is not willing to discuss what will happen with a relatively large amount of public money. If it is to be positive, then I assume that many of those positive things have already happened in the working group. The important moment of the whole matter is that a selection process will take place, and space will be created for a person to be appointed who would suit the interest group. This is certainly very important, and I would wish for the city or Trojhalí to be able to prepare it in such a way that they become credible right from the start. Without this moment, I think that the entire fast start will slow down incredibly, and it will again take a lot of time for trust in the project to return. To convince the citizens of Ostrava that they mean well.

Jiří Jůza: The condition is to announce a serious selection process. I even had to relax the conditions in the last phase of the selection process because it was so strict that it required ten years in the art science field and five years in a managerial position. I think that could be a problem even in our territories to find someone like that. So, I relaxed it to I think five and three years. A selection process is a prerequisite for the whole endeavor to be able to launch. The interest association is obliged to announce a process.

Michal Škoda: At this moment, when it is as far along as Mr. Jůza says, it is absolutely crucial that a transparent, professionally prepared selection process takes place, so that a positive outcome can be expected, which leads to what Mr. Jůza said despite all the negatives. It should begin with something significant, but if it is like this, that it cannot be stopped, then the selection process should be conducted to satisfy everyone. Because otherwise, these things relate to the whole, that Mr. Světlík and architect Pleskot are doing an amazing job here, and it would be a shame if such seemingly trivial things were to spoil this whole. At the same time, the city should not bear the cost of that. I keep repeating this because it is not just Ostrava's problem; I think of the city, public space, and the functioning of the city and social issues, which I see as problematic, and I see that they are interconnected. Something is emerging elsewhere, and that is important, but the city is also important. And I think you all want the city to function well.

Note: Due to the spoken form of the discussion, some statements from the experts have been stylistically adjusted – with the authors' consent.