Prague Biennale 5: “Portraits can be powerful tools”

Jane Neal is the curator of the section Portraits of Power at the 5th edition of the Prague Biennale. This section presents the works of artist from Hungary, Romania and Moldavia.

Present yourself in three sentences.

I'm Jane Neal, I'm a curator and art critic. For the past six years I've been very involved with young artists from Eastern Europe. I have an interest in all forms of contemporary art but a real passion for painting - perhaps because originally, I trained as a painter myself.

Present the works that you curate at the Prague Biennale.

The five artists in my section are all making very strong, exciting and intriguing work. You could say that they all relate to each other either by ethnicity, birth, or through the decisions they made as to where they live and work. The history of the area they have grown up or work in and its imperial and communist pasts have left their mark on them in terms of the subject matter they choose to depict, and in some cases in their stylistic painting decisions, which at times consciously acknowledge the influence of social realism. Ultimately though, these artists are connected through a commonality of exploration: of private and public mythologies; of the power of past and present icons (whether these be human or machine); by the often strained relationships between society and the individual, and by the increased blurring of the line between reality and fiction, and the conscious and subconscious mind.

Can you explain the main theme?

The title of my section is: Portraits of Power. Since the Italian Renaissance, portraiture has traditionally focused on the face and expression of the sitter. It existed to present a likeness of a person, ideally one that betrays something of the subject's personality and general countenance. It also functioned as a status symbol, reinforcing the subject's wealth and position: their social standing justification for the preservation of their image. A portrait usually depicts the sitter looking directly at the artist, so as to better engage the viewer with the subject. Yet today the term 'portrait' has other connotations. It suggests the kind of scrutiny that can determine a person's personality, background and the possible motivations behind an act of destruction. Neither does a portrait have to be human. We know from art history that objects can stand in for humans in a telling and powerful way: from allegorical portraits and from powerful signifiers such as Van Gogh's pipe and chair. If portraits are essentially the essence of someone or something then they can be powerful tools: demonstrations of status, authority and even dominion.

To what extent is this theme important in relationship with the artists you have selected?

A person's power is often measured by the extent to which they are able to control their environment, and that of those around them. 'Authority' is sometimes substituted for the word 'power'; it has a softer ring to it. The word 'power' is often viewed with suspicion, especially if perceived as being excessively or unjustly ministered. Yet the application of power need not be violent or even forceful. It could resemble 'influence' it can be upward or downward in direction ('down' meaning the exertion of influence from the top, 'up' being the workers or citizens influencing the decisions of their leader). As this is being written, the world is witnessing the power of upward influence in Egypt and across many of the countries of North Africa and the Middle East. Power in society is usually referred to as politics and the potential of upward influence to dramatically change an organisation or even a nation is one phenomenon all the artists in this section are acutely aware of, even if - as is the case with some of the artists - they were still children at the time of the fall of the Berlin wall and during the events that followed in Central and Eastern Europe; they have nonetheless grown up experiencing enormous political change.

How did the artists work with this theme?

Power has many faces: it could be the possession of controlling influence, it could be the rate at which something works, the ability to achieve, a position of note (as in government or business), the possession of authority, physical force, the substance that drives a machine, or a symbol of might. Portraits of Power examines many of these possible readings of power. The artists invited to participate in this section were free to interpret the title as literally or obliquely as they wished. The exhibition of works can therefore be perceived as an exploration: five individual journeys into the nature of the different faces of power and its implications for contemporary society.

Do you think that one has to understand art to appreciate a work of art?

I think art can work on may levels. I believe everyone has an innate sense of appreciation for form, colour and surface. I could look at an ancient Egyptian sculpture or Chinese scroll and not understand anything about its original meaning but still have a visceral reaction or visual appreciation for the object. Sometimes though understanding something about line, colour and technique can make you really appreciate the artist's craftsmanship, or his decisions. It can be a wondrous thing, it can be inspiring to realise you are looking at someone who is incredibly gifted. On the other hand, sometimes the 'craft' or labour in a work can be so evident it smothers the piece - there has to be a balance. Art doesn't have to be beautiful, that's for sure, but it should communicate something to the viewer, it should be thoughtful and it should bring something new into the world - but maybe this could be very subtle or unexpected. I don't believe art exists to fulfill the viewer's expectations; it should transcend that.

Do you think that contemporary art asks questions or gives answers?

I don't believe art exists to provide answers. It can be beautiful, dark, provocative and intriguing and it can certainly provoke questions, but how dull if it gives the answers? Surely art is free from that kind of restriction or expectation?

Where did you last curate exhibitions and where will you have the next one?

I'm involved with several projects right now. Besides Prague there's a group show in Milan at the beginning of June, and a group show in Los Angeles at the end of June. Then in the Autumn I have a group show planned for Budapest and possibly one in London too - so I'm pretty busy right now.

What do you expect from the Prague Biennale?

I hope many people will come and see the artists’ works - there are some super works to see. Prague is low budget and not meant to be polished and 'posh'. It is always interesting though and has helped to launch the careers of several now very well known artists. I hope this year more artists will begin to gain the recognition they deserve, partly as a result of their inclusion in the Biennale.

What do you “against the grey”?

Ha - that's funny. Last Biennale I collaborated with the lovely Mihai Pop on a section entitled 'Staging the Grey: 15 painters from Hungary and Romania'. What exactly does 'grey' mean in terms of your publication? Is grey boredom or all that is anodyne? I try not to be apathetic and to remain passionate about the things I love in this life. Sometimes it's easy to feel a little tired and bothered by things, but life can be incredibly beautiful and we should celebrate this when we can.