školská 28

'Returning from the 1960’s back to the present or, more precisely, to the near future, we realize that what JanżBrož is going to do in Rapotín is in fact a reversal of the MODEL/SERIES relation, because the intended re-edition will lead to the creation of paradoxical objects. Even though they will look like chandeliers, they won’t be chandeliers. Whether we consider them artistic originals or mere illustrations of a conceptual scheme, neither way will they fulfil the logic of a SERIES which makes chandelier ażchandelier - instead, MODELS will be created.Even though this project stage holds many dan-gers (the next one is, for example, the plan to engage workers in the production of the replicas, who participated in the original production and now are victims of the above-mentioned structural unemployment), from a theoretical perspective it is this unclear ontological status of theżobjects supposedly coming into existence in the next stage of Brož’s project that is interesting. Also because it is through this ambiguity that another link (besides the purely visual, based onżthe identity of a particular decor) is created between the Kabinet Gallery installation, consisting in drawings of the decors on the gallery ceiling, and the re-edition of the chandeliers.'