Josef Kešel (Praha, Czech Republic) makes films and sculptures. By manipulating the viewer to create confusion, Kešel presents everyday objects as well as references to texts, painting and architecture. Pompous writings and Utopian constructivist designs are juxtaposed with trivial objects. Categories are subtly reversed.
His films isolate the movements of humans and/or objects. By doing so, new sequences are created which reveal an inseparable relationship between motion and sound. With the use of appropriated materials which are borrowed from a day-to-day context, he finds that movement reveals an inherent awkwardness, a humour that echoes our own vulnerabilities. The artist also considers movement as a metaphor for the ever-seeking man who experiences a continuous loss.
His works are on the one hand touchingly beautiful, on the other hand painfully attractive. Again and again, the artist leaves us orphaned with a mix of conflicting feelings and thoughts. With a subtle minimalistic approach, he often creates several practically identical works, upon which thoughts that have apparently just been developed are manifested: notes are made and then crossed out again, ‘mistakes’ are repeated.
His practice provides a useful set of allegorical tools for manoeuvring with a pseudo-minimalist approach in the world of film: these meticulously planned works resound and resonate with images culled from the fantastical realm of imagination. By questioning the concept of movement, he creates work in which a fascination with the clarity of content and an uncompromising attitude towards conceptual and minimal art can be found. The work is aloof and systematic and a cool and neutral imagery is used.
He creates situations in which everyday objects are altered or detached from their natural function. By applying specific combinations and certain manipulations, different functions and/or contexts are created.
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