150 centimeter

Despite the transformation of cultural institutions in ninety and zero years, some museums and galleries are setting their concept in the past. This setting applies to, for example, fixed hours of work or poor education in gallery pedagogy. Paradigms are found in other layers. Prohibition of approaching and inability to interact with objects causes a fight with installations that violate this principle. One of the other layers is also in the installation type. The established suspension system model and wall installation are deeply memorized and difficult to break down. 150 cm is the ideal center of works of art. This height has become significant and strong for me to have a clear statement in response to this topic. By his testimony, Richard Kučera Guzmán responds to the given. In his first intervention, he exhibits paintings that are from the totalitarian regime between 1968 and 1989 and draws attention to the exhibition paradigms by their deconstruction. The motifs on the paintings are landscapes, still rural themes that were typically neutral and characteristic for this period. In the space in the corridor there will be a “white cube” boundary, and de-constructed works will be hung in this space. In the second reaction, it interferes with the information space at the College of Fine Arts in Bratislava. Posters, announcements, catalogs are cut in the same line of 150 centimeters. A manifesto is written for the art reaction, which is a new significant line of the author.