Dominik Lang draws upon the act of monitoring his immediate surroundings, which he completes (enhances) and modifies using installations and events. His concrete sources of inspiration are always tied to a combination of interest in production manner and the logic of the creation process. He notices how things are done, be it purchases in a plastic bag or a statue by Stanislav Kobal. Lang’s interest in the practical aspects of gallery operations is unique on the Czech scene. His subtle interventions create problems for the gallery space as such (Chatová osada – Cottage Settlement, VAU! – WOW!, 108,658245 m3) or they crush the viewer’s expectations of the gallery as a neutral „display window“ for art (Altán Klamovka – the Klamovka Gazebo, Česká republika – Czech Republic). In his project Udělali jsme téměř všechno pro změnu – "We did almost all we could for change" he addresses the exhibition process as the symbiosis of institutional roles (curator, exhibit architect, theorist, etc.). Lang’s favourite space is also his home Academy, which he disguises with simple interventions (i.e. made up expansion of the faculty by installing new cubby holes for faculty mail, installation of firebreaks in the entry hall, or drying laundry in the restroom window).
2007-11 curator of the exhibition program at Galerie Jelení, Prague, CZ
Jiří Ptáček, Umělec 1/2006
Markéta Kubačáková, Galerie, A2 kulturní týdeník, 19/ 2008, s. 26-27
Monika Ticháčková, Zamilovat se do prostoru?, A2 kulturní týdeník, 31/ 2008
Jakub Stejskal, Mimetické inverzní vzpomínání, A2 4/09
My work mainly deals with explorations of the public space, reactions
on concrete situations and perception of the contemporary sculpture in general. I do not make remarkable, individual projects which would show their originality, there is more of the consistant attitude and working method in it. I am focused on revealing the solutions. My objects and installations are usually formally very precise,made out of everyday materials,they move on the boarder between art and design and craft. My work can be summarized as a program: Important connecting link and repeating theme in my works is the idea of wasting time, space and effort in the process of making . Many of my installations and interventions are results of a time-consuming and hardworking process, the installation very often serves as a proof or result of the action. The final appearance of the objects is usually very minimal,
sometimes maybe even invisible. I am interested in how things are made and for which purpose they constitute a means, I am concerned in a play with different materials and their physical and optical quality, stability, divisions of space which unables fluent movement, subtle modificaftions of objects,
changes of scale, newly defined functions and characteristics of things,taking already made objects out of their natural contexts and using them for other purpose, so that they are loosing their previous function and meaning. The projects vary from removing selected sections, interrupting the stability of an apparently homogenous space, infirming the viewer and playing with his/her reaction (which i also take as one of the results of my work) The place of my actions is usually and logically my nearest neighbourhood-school, home, public space.The content of the work is strictly given by its context. One of the outputs of my work is a level of the personal experience. The installations rise from the idea of some concrete space or situation-interior of a gallery or eaction on a concrete stereotype. Some of them are very temporal, they serve to raise questions about our conventional system,the social cathegories such as private and public can be rethought. I focus on relationship between object and space, object and the viewer etc. Influenced by minimalism, design, architecture, ready made, the aesthetic of cheap material, I conduct
my ironic game with apparently stable concepts such as big and small, banal and sublime, true and false.