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Igor Minárik

A2

2022-04-28 - 2022-05-03

Igor Minárik

Rudolf Fila called Igor Minárik the most playful member of the A-R Group, who "seeks out and finds artistic elements and creates something of them like a rhyme, a rhyming poem." a line of artists and children to whom Minárik, as an innovative pedagogue, has been dedicated for thirty-six years (similarly to his colleagues Marián Mudroch, Daniel Fischer, Ladislav Čarný, but also Mark Rothko, who was an art teacher for twenty years). If we continue with the terminology of the game and the unencumbered (child's) vision of the world, we could also perceive Igor Minárik's images as visual puzzles. As a means of meditation, called the name of one of the few paintings he named, or as a navigation in the manner of medieval maps, which, in Václav Cílek's words, are more "a drawn idea, a visualized purpose of the world, an estimate of God's purpose than a country's plan."
Igor Minárik walked to work, to the elementary art school in Lamač, through the forest. Since then, he has been an everyday visitor to the forest and this experience has grown into his works. He talks about “the diversity that one experiences in the Little Carpathians, when a certain part of the walk is through a beech or coniferous forest, part through a valley, along a stream or meadows. And maybe even in the painting compositions there are places that seem to be from different worlds or ways of artistic thinking. ”However, he is not a landscape painter and nature is not his only inspiration. It enters the surface, recording the inner experience of reflection, processes, surfaces, atmospheres of outer and inner worlds. It moves from gestures to geometry, other times it emphasizes peace and flow, while this meditative feature of Minárik's work is accentuated by the current exhibition.
 
Walking plays an important role in his life. On the contrary, he is able to "immobilize" and climb his imaginary mystical mountain in the attic studio when creating his diary paintings, and work for hours with a magnifying glass and a brush bent over the A2 format, which has become an integral part of his author. manuscript. Fila speaks of the "dimensionlessness" of Minárik's works, the author himself perceives in them as a prosaic memory of the plates in which he wore school work while studying at the Secondary School of Arts and Crafts in Bratislava. Their "reachability" by the authors on the desk is followed by their subsequent reachability to the audience, whom he invites to a symbolic intellectual-visual duel "one on one": "It seems logical to me that one person makes a picture and one looks at it. Because two would be interfering. "
Igor Minárik's paintings have no names, and Etienne Cornevin even discourages us from trying to grasp or understand them by saying that "they are never illustrative and it would be quite futile to look for a clear meaning in them." to stop at his paintings and let himself be drawn into the author, in fact into our common world. Finally, he adds: “Does that mean they don't make sense? But they have, but they don't change from picture to picture, it's about making the incomprehensible infinity of the complexity and unity of the world feel. "
 
Daniela Čarná

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