Selected Works

MgA. Jakub Jansa (*1989, Prague, Czech Republic), freely combines various media, and primarily creates installations and performances that are responsive to the context of the place. The work is loosely con-nected to the !imaginary situational manual", which consists of assigned tasks and subsequent solutions, solutions in response to events incidentally discovered. A frequent theme in his work concerns the search for boundaries between nature’s uninhibited occurrences and the artificially-made world. He graduated in the May of 2016 from Supermedia Studio at the Academy of Arts, Architecture and Design in Prague, under the guidance of Federico Díaz and David Kořínek.

2016 →

Better Ideas for Life 2, Karlin StudiosPrague, CZ (G)

TeseractAMU GalleryPrague, CZ(G)

Better Ideas for Life 1,Ausstellungsraum Klingental, Basel, CH(G)

Name of the project is project itself, Czech Center, NY, US(G)

2014 →

Holding plastic bag containing my positions II, UKG, Prague, CZ(S)

Watch Out, Engstligenalp, Bern, CH(G)

2012→

It looked different in a dream, Klementinum, Prague, CZ(G)

Koriandrový tunel,GHMP, Prague, CZ(G)

2013 →

Conductor, Prague, CZ(G)

Umprum 2012, DOX, Prague, CZ(G)

2015→

EngstligenAlp, StartUp, GHMP, Prague, CZ(S)

Vystřelený šrapnel uklidní pozorovateleCzech China Cont., Beijing, China (G)

Enter 6, Galerie NTK, Prague, CZ(G)

P.J.S., Galerie NoD, Prague, CZ(G)

How not to want anything,4+4 Days in movement, Prague, CZ(G)

Holding plastic bag containing my positions, Umakart, Brno, CZ(S)

Industrial Revolution, VP1, Ostrava, CZ(G)

Model, R33 galerie, Prague, CZ(G)

Nanovo, Galerie kaluž, Ostrava, CZ(S)

jakubjansa.com

2016: MgA - AAAD Academy of Arts, Architecture and Design in Prague, Studio of Supermedia

jakub.a.jansa@gmail.com00 420 777 343 653

Contact

Jakub Jansa

Exhibitions

Education

Jakub Jansa 1

Jakub Jansa in his work uses scientific procedures and relatively exact visual records. He is not lim-ited by mere transformation of personal fascina-tion with scientific research. Jansa’s approach to artistic creation does not allow the viewer to remain only in his ordinary, usual interpretations and categorized perceptual constants. The view-er’s active participation is expected and not lim-ited to only physical interaction. With the help of various media, he modifies the intensity and direc-tion of our attention and perception. Inspection of human consciousness, awareness of human body and its perceptual limits, is not only the sub-ject of Jansa’s work, but also an important part of the recipients approach to it. The Model project is significant. A gust of wind (as a main narration) is projected on silk with exact programmed intensity and corresponds to the physical experience of the author. The abstract, and, in a sense, elusive form does not disable the imaginative activity in which we particpate, instead it anticpates the nature of our future confrontation with similar events.

Another strong impulse in the active process of uncovering the deeper meaning and qualities of the human psyche can be highlighted though contradictory photographs in a landscape Engstli-genalp plateau. By using fragmented and phased figures in movement, Jansa is able to create

authorship of visual allusions as well as aesthetic of algorithmically precise parametric design, all within a natural backdrop of a gradient mist van-ishing into a rock horizon. In this very specific penetration of various visual elements, emergent atmospheric photos can be found with a a quality of perception that is unable to specify. In regards to his work, Jakub Jansa adheres to the the con-cept of “Processual performance”. Just as there is no way to grasp the unchanging nature of the wind, but only perceive a level of intensity change in his work, he cannot talk about the unchanging essence of artworks. Their origin and reception is a creative process involving awareness of the changes in the background of our past and pres-ent experiences. Perverted tendency of playing God”, which Jakub Jansa discussed in connection with the project of programmable caves. Accept the following historically informed interpretation with a sense of slight exaggeration. God does not allow us to glimpse upon the true nature of things (or their future development), but upon works of art and vision, which turn the human con- scious-ness to oneself, the potential for the path leading to it. On this trip, which is also the goal, we can ask the same question, which brings us to this text.

Text by: Michaela Novakova

Modification of The Attention Vector

Text

2

Spiritual Fitness is a physical practise developed for Academy of Art, Architecture and Design in Prague (AAAD), presenting its complex self-development

programe, in a form of public seminary. It is based on three video lessons.

Spiritual Fitness (installation, videos, objects) 2016, mixed media

Spiritual Fitness, installation view

Spiritual Fitness, installation view

The installation of sculptures, depicting the presen-tation tent, where you can see the first video from the series spiritual fitness - Two minutes. The instal-

lation is made from copper tubes, that represent the heat conducting material.

Dream Building (sculptural installation) 2016, copper pipes, plastic foil, headphones, tv

The basis of the exhibition Book Report is to build dig-ital archive of all the books (1,500 items) awarded in a competition “The most beautiful Czech book” over

the past 50 years. Books are scanned, stored and up-loaded online daily by our digitizer laborer working by a predefined manual, inside of the transporter.

The Book Report (exibition concept) 2015, collective project with Lukáš Kijonka and Petr Babák

The Book Report, installation view

Appliances (site-specific) 2016, collective project with Jan Nálepa, mixed media

We are building a situations in which standard household appliances has been uprooted from their

original function or they have to deal with their newfound personality.

Appliances, installation view

Zone1 (procesual performance) 2012, plant, EEG, plotter, black markers, wall: 4000 mm x 3200 mm

The only thing left thing in the room is the houseplant. I installed a device that reads and records informa-tion from the plant as if it were a computer hard

drive. After 21 days the memory of the room was restored by transcription on the wall.

It absorbs evidence of my surroundings into itself. It responds to me. We fall asleep together at night and breathe the same air. Only we do not understand each

other, yet. For example, trees can communicate with each other from one side of the forest to the other. I would like to partake in a conversation like this.

Alphabet (performance concept) 2015 - present, biofeedback from plant tattooed on skin

Zone 3 (Site-Specific) 2014, plant, biofeedback EEG, plotter, dremmel, iron board: 4400 x 3200 mm

The device captured biosignals from the plant in a noisy environment. Its internal language was en-graved by a vertical plotter onto an iron board. The

process took 15 days. After finishing, the visual re-cord disappeared under newly grown rust.

Zone 3, installation view and drawing detail

Zone 2 (site-specific) 2013, plant, biofeedback EEG, plotter, white markers, wall: 4000 x 4300 cm

In a closed room absent of light or water, a device transcribes the biosignals of a plant onto the gallery

wall until it dries up completely. The process took 28 days.

Zone 2, installation view

Model (procesual performance) 2013, anemometers, controlled fans, screen: 320 x 180 cm

As I ran, I recorded the sensory feeling of air flowing around me with anemometers placed on my body.

Afterwards, the experience was recreated using electronically controlled fans and a loose canvas.

Click for Video

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Model, installation view and performance

https://www.youtube.com/watch?v=U5A-7AXR2sk

Engstligenalp (architectural concept) 2014, installation, painting, texts, mixed media

A plateau called Engstligenalp is situated at an al-titude of 2000 meters above sea level south from Adelboden in the Western Alps of Switzerland. It

is a setting for a visionary project, whose aim is to install a device here which in a few thousand years would build a complex of caves.

Pernament Presence (video) 2014, iPhone 5, full HD

The resulting picture is confusing. Experiencing the fluid world, which blends elements of a digital simulacrum and general reality, makes it difficult to

distinguish if the resulting image is formed by post-production manipulation or it’s just picture of a real environment.

Click for Video

►

https://www.youtube.com/watch?v=4fNhf0DIqwE

Ideal Form of Reality (performance) 2014, cups, spoons, time, adhesive, dimensions variable

The goal was to bring found objects to equilibrium. The surrounding activity within the space hindered me from achieving my goal, thus I achieved the

scene with adhesive, which in turn inspired calm-ness in those who encountered it.

In the Kitchen (installation) 2013, glue, silk paper, table, dimensions variable

The common way of working en plein air is to create monumental objects in a landscape. I responded to

this with my version of the monument placed into domestic conditions.