Altar of Love (R.I.P.) je malá inštalácia ktorá vznikla špeciálne pre Bienále súčasnej keramiky vo Vallauris. Obrázok bol zatiaľ publikovaný len v katalógu tejto výstavy. Veľa slov o malej práci napísal kurátor výstavy Yves Peltier. Jeho text z katalógu citujem dole pod obrázkom.
Altar of Love (R.I.P.) is my small installation made specially for last Biennale of Contemporary Ceramics in Vallauris (France). For now, picture was published in catalogue of this show. Lot of words about this small artwork wrote a curator of biennale Yves Peltier. Whole text from him bellow picture.
Simona Janišová, Altar of Love (R.I.P.), 2009
“”Altar of Love” is the last little installation of the Voodoo series created by Simona Janišová. It is composed of a broken trophy representing a doe’s head decorated with flowerets – a naive and symbolic representation of the feminine – and a sex toy, also in porcelain, which serves as a virile, potent masculine counterpoint. It has a relevant décor in pastel colours which evokes joy, happiness and pleasure. The resulting juxtaposition of this contrast with a brutal harsh archetype evokes a smile, while nevertheless leaving behind a fleeting impression of bitterness. A candlestick with its candle completes the ensemble. It is a sign of passing time. This little scene, which initially appears to be innocuous, conjures up relations between men and women, the loss of a certain innocence, and even the dreams that are shattered on the altar of love. After relations that give pleasure and the fleeting joys of the flesh, what is left? What are the real possibilities of synergy and dialogue? The fixed aspect of these objects, and the apparent absence of any link between them, speaks volumes. This mini-theatre of intimacy simultaneously evokes drama as well as comedy – that of life and its apprenticeship, a journey undertaken by each human being over the course of their existence. The encounter with the other, the fusion that can result, would all seem to be mere illusion. The solution can perhaps be found in a sort of calm that resembles renunciation, unless, on the contrary, it would be in a rather crazy sort of hope, blind and delusive, that flickers like a tiny flame secretly nurtured, whatever the odds.”
Yves Peltier, Commissioner of the Biennale
