- Exhibitions and programme
- For media
Featured artists: Petr Stanický spolu s vybraným autorem. For this exhibition, Petr Stanický has created an entirely novel site-specific installation which, through the imaginary Window of Zlín and Flowing Through, opens the closed space of the part of the gallery referred to as White cube. This space cannot …be penetrated by daylight and reflects the clash of these two utterly different worlds. These changes in optical characteristics simply through the use of light or choice of angle have become the point of departure for this exhibition. In his other installations, just like in all of the author’s work, we find a distinctive sculpting style that communicates with the surrounding space from which it draws inspiration.
As part of his choice to be in dialogue with another from the collection of the Gallery of Modern Art in Hradec Králové, he chose Hugo Demartini and his Relief, 1967–1968.Demartini’s chromed reliefs and objects (1965–1974) are the publicly most well-known of his works. He limited a sculpture to a relief of highly reduced and abstract shapes – orbs and half-orbs organized into interrelated structures. He creates everything from prefabricated objects on the basis of a procedure which he likens to organized labor.
The Yes No Yes exhibition takes its inspiration from questions connected to the environment and circumstances leading to the emergence of the moving image. The aim is to follow a range of effects (sometimes called “special effects”), the manipulation of the image, and spontaneous gestures which influence them i…n their making. The inspiration for the exhibition came from the first Czech video artists, who often used video technologies in very intuitive ways. The video as an object in and of itself carries historical significance related to the development of the audio-visual arts, while simultaneously being connected to contemporary ways of grappling with what is known as the moving image, not only in the context of cinematography and visual arts but also in, say, music, fashion, and other forms of pop culture. The exhibition borrowed its name from the video Yes No Yes (1992) by Radek Pilař – a painter, illustrator, experimental animator, videographer, arts organizer and pedagogue. In the 90s, Pilař participated in the foundation of a workshop focused on electronic animation at the FAMU film school. He also worked shortly at the Faculty of Fine Arts (FaVU) at the Brno University of Technology, where, in 1992, he became the first director of the atelier for electronic multimedia art – today’s Video Atelier.
VIDEO ATELIER FT. MARTIN MAZANEC & JAN ŠRÁMEK
In the 2021/2022 academic year, the Video Atelier of the Faculty of Fine Arts (FaVU) at the Brno University of Technology in Brno is home to 23 students in the Bachelor’s and Master’s programs. Dialogues about projects and themes are led across the atelier, and each project is then coordinated by a larger or smaller group of artists. Some of these projects include the concept of the cinema and gallery Bat Cave Cinema (Café Pilát Brno / Galerie TIC, Brno 2020–2021), the performative exhibition Mixtape (Institut za Aplauz, Belgrade 2019) or curation of the exhibition of works by graduates of FaVU in Brno called 29 (Dům pánů z Kunštátu, Brno 2017).
The following students study at the Video Atelier: Simona Duďáková, Martin Hurych, Jaroslav Kaláb, Martin Dominik Kratochvíl, Maria Lopatyuk, Lukáš Prokop, Daniel Rajmon, Kristýna Sidlárová, Ondřej Silný, Matěj Sláma, Adam Smolek, Adam Smrekovský, Tamara Spalajković, Jan Staniczek, Marek Ščudla, Jan Šrámek, Risto Ilić, Nikol Urbanová.
Starting in the 2017/2018 academic year, the Video Atelier of the Faculty of Fine Arts (FaVU) at the Brno University of Technology is led by curator and moving image historian Martin Mazanec, together with visual artist and illustrator Jan Šrámek.
The central motif of this exhibition is a single work – the lithograph Woe (Hoře) – by Jan Zrzavý, from the year 1918, which is in the collection of the Gallery of Modern Art in Hradec Králové. An allegorical, heavily stylized head is placed diagonally onto the space of the canvas, with a round white shape …on its forehead, half-closed eyes, a sharp nose, and a teardrop on its left cheek. Figural motifs dominate the work of Jan Zrzavý. He was interested in humanity, its feelings and experiences. When Zrzavý drew landscapes, he did not stay out in the open to sketch them, like most painters, but took inspiration from his own imagination. We find this same stylization of invented landscapes and emphasis on inner worlds in the work of Bronislava Orlická. She believes subtlety is one of the most compelling aspects of Zrzavý’s work, and is something which renders it relevant to this day. The space of the White Cube is ideal for the uninterrupted interaction of both artists and their common story, which transcends the confines of the picture frame.
BRONISLAVA ORLICKÁ (born 1989, Karviná, Czech Republic) graduated from painter Jiří Sopko’s atelier at the Academy of Fine Arts in Prague (2009–2015). She has a number of exhibitions in her portfolio, including Prince.exe Megahit, Berlínskej model (Prague, 2016), Lovci bouřek (Galerie Industra, Brno, 2016), Podobat se jedna druhé (Panský dvůr gallery, Veselí nad Moravou, 2020), Krása je zastaralá (City Surfer Office, Prague, 2021), To vše (Hrob gallery, Uničov, 2021), Kdybych neměla tělo, mohla bych být všude (Karlin Studios, Prague, 2021). Last year, she moved to Hradec Králové and opened her own tattoo studio, Ahoj tattoo, where she tattoos her own original designs. This activity develops her minimalist, clean painting style, which she blends with drawing. Through stylized shapes made with closed lines, she seeks to create illustrations without text. Her approach to painting is generous, and she works with carefully selected color pallets.
For most of us, intimacy is the most distant corner and deepest content of our private lives. In communication, it is facilitated by the highest form of trust. The prickly Latin word intimus means the “most secret” and “most inner” as well as “most intimate”. It is an important issue of our historical and cultural co…ndition that these most hidden, most intimately relayed, truths are the main focal point of artistic expression.
The exhibition Late Intimacy (Pozdní intimita) is a reaction to the pressure we all face to share our private lives. This pressure is present not only in mass media but also on social networks, which are programmed to leverage our need for acceptance and reward, and are present as both overt and covert documenters and analyzers of our behavior in both the physical and digital space. We are also increasingly aware that the main goal of this pressure is to gather information which can be monetized or used to gain power. This is why the importance of how responsibly art handles privacy and intimacy has become more urgent.
The central goal of the exhibition is to explore the range of strategies which contemporary photographers use in portraying relationships and intimacy. Their approaches reflect the delicacy of the subject which they have decided to focus on, and the exhibition itself follows the space between intentional lack of literalness, careful strides, metaphors, and respect for that which is hidden and incapable of being fully known.
The Gallery of Modern Art in Hradec Králové is displaying the latest work of Tereza Severová (*1979) at the Bílá kostka (White Cube) exhibition room. It is a three-channel video projection called Tree in the Middle of a Landscape (Strom uprostřed krajiny, 2021), in which the artist concludes her ongoing exp…loration of the theme of trees as significant elements of the Czech landscape, imbued not only with environmental but also symbolic and political meaning. Severová’s work focuses primarily on photography, moving images, and their digital manipulation. Through these mediums, she tests the meaning of traditional social values like freedom and democracy, the evolution of the perception of freedom and democracy, their loss of content, and how their meaning changes over time. Recently, the artist’s attention has been turned with increasing frequency towards the relationship between the individual and the landscape, especially the post-industrial landscape, which we have, to a certain extent, been taught to see as a mediated image, which we cannot alter. Thus, the landscape, utilized as a projection screen of (un)realized visions, longings, collective and personal rituals and creative gestures, becomes a meeting point for an unexpected layering of dialogue between the author and generationally-distant but, in certain aspects of their work, surprisingly related artists – Ivan Kafka (*1952) and Dalibor Chatrný (1925–2012).
For this exhibition-in-dialogue, the gallery borrowed a collection of photographs by Ivan Kafka called From a Tale of Fluttering I., II (Z povídky o vlání I., II., 1976) and For Personal Maxi-Use, 1979 (Pro soukromou maxipotřebu) from the collection of the Moravian Gallery in Brno, which documents the author’s first nature photographs, created in the second half of the 70s, and six manipulated photographs by Dalibor Chatrný (Manipulated Photographs I.–VI. / Manipulované fotografie I.–VI.) from the years 1978–1985 from the collection of the Gallery Klatovy / Klenová.
In a world of aspirational images, enterprising young women and magic spells, monsters, body parts and machines emerge from and dip back into animated surfaces of saturated color. The camera sways to a rap beat, scanning the landscape from horseback, where vaginas grow through rock while children’s voices s…ing of neverending debt. In the solo exhibition Frugo, Marie Lukáčová uses her highly developed artistic language to present image as a tool for the production and control of desire within global capitalism.
The phenomena of the present—fantasy genre, online commodified pop culture YouTube such as adds and viral videos of Lil Nas X as a cowboy—are only a departure point for the artist’s exploration, which she then processes in her distinctive way, of creating a narrative collage interspersed with her own hand-drawn material, stories, and songs. In her film A nail torn from the invisible hand (2021), drawings and installation created specifically for the Gallery of Modern Art in Hradec Králové, these elements serve as a conscious exploration of how the female body is represented and the entangled relationship between the circulation of images, money and sex. For Lukáčová, imagining an alternative social order starts with personal, everyday relationships and transactions, populating them with monsters, magic and polyamory, where image is the main currency.
Artist Dalibor Bača’s intervention Za kulisou / Behind the Scenes consists of physical architecture, a chamber which is sunk into the entry hall, and the artist’s own performance within this chamber. Over the course of 9 months, the artist will make three week-long stays within the dark and soundproof space he c…reated. The chamber is fit only with a bed and bathroom and he will have no access to food, news from the outside world, or human contact of any sort, including media and social networks.
The title Za kulisou / Behind the Scenes refers to how the overload of information from the media leaves us disinformed, since many media outlets knowingly twist reality, creating a screen which hides the truth. The artist’s fast from media, endured in silence and darkness, is, therefore, a tool which allows the artist to look behind the scenes of our quotidian media overload, thus achieving the calm and holisticness appropriate for mysticism in the broader sense: One of the artist’s sources of inspiration are neuro-psychological studies of consciousness. We may consider the Art-Nouveau structure and interior of the gallery, a former bank, as part of the set, or scene, as well.
Supported using public funding by Slovak Arts Council.
An exhibition of key artworks from Karel Tutsch Collection, which GMU acquired in 2021.
The collection of more than 800 works is an exclusive document of collecting art since the 1980s and includes major works of Czech art from the period between modernism and postmodernism by important artists such as Jiří Načeradský, Jiří Sopko, Antonín Střížek, Naděžda Plíšková or Alena Kučerová. Karel Tutsch was an art collector based in Brno, who also specialized in collecting conceptual art by artists such as Jiří Kovanda, Jiří David or Ján Mančuška.
From 1986 to 2008, Karel Tutsch ran Na bidýlku Gallery in Brno, which was the oldest private art gallery in our country. A total of 169 events were held there. The gallery quickly rose to be an important place for Czech artists to meet and hosted both official and unofficial gatherings. It was set up in a small loft apartment in Václavská Street in Brno. For a few years, it was practically an underground venue After 1989, it often served as a replacement for official galleries and institutions as any art exhibitions were still very rare.
The basis of Jiří Hilmar’s work is the theme of space, which he understands not just as a three-dimensional delineation but also as an environment, a milieu, the historical and social aspects of which are shaped by humans. To Hilmar, however, the issue of human existence is not a question of the indivi…dual but of a relationship in which humans form an inseparable part of a greater whole – that whole being nature.
This exhibition at the Gallery of Modern Art in Hradec Králové consists of a selection of Hilmar’s object and reliefs created between the years 1977 and 2002 from the same material: wood. These are key works, which embody the artist’s musings about the relationship between humans and nature using three approaches: from the forceful shattering of a naturally-grown whole into an artificial structure (Buk – Beech, 1977), to the reverse process of connecting fragments into a whole (Rekonstrukce lesa – Reconstruction of a Forest, 1985–1986), all the way to the contemplative level of mutual permeation between natural energy and the artist’s creative energy (Ztracená rovnováha – Lost Balance, 1989).
Jiří Hilmar was born on May 28th, 1937, in Hradec Králové. In the years 1952–1956, he studied at the College of Decorative Arts (Vyšší odborná škola uměleckoprůmyslová) in Prague in the atelier of prof. Richard Pípal. In 1967, he co-founded the Club of Concretists (Klub konkrétistů). In 1969, he moved to Germany and, in 1983, co-founded the group of artists called Die Gruppe Gerade and, in the mid 90s, took part in a research residence in Chile. In the years 2005–2008, he collaborated with the University of Dortmund. In 2013, he was awarded honorary citizenship by his native city of Hradec Králové and moved back to the Czech Republic for good.
The exhibition of Matyáš Chochola is a visual epic and a philosophical reflection on the form of our world, a world of people at a time when the boundaries between reality and dream, idea and subject have already been erased yet. The history of the World in his interpretation are the history of th…ought and life as such, because we are one of the temporary forms of the energy of the Universe. We are a part of transformations and transsubstantiations of elements which unite us with the beginning of the Universe and persist after humankind even beyond its end. We are the moment of eternal duration without beginning and the end.
The exhibition consists of seven images symbolising seven stages of human development, when the beginning and the end drown in an impenetrable darkness. The narrative arch begins in the chaos at the dawn of life and consciousness (Eternal Darkness) and continues with the circular order of nature (Quattro Stagioni) and the shamanic cultures (Shamanic) equal partners for the natural forces, to the era when humans established themselves as rulers over the anthropocentric universe (Alchemic Tiltyard of History, Ezo Mystic, Pharaoh´s Chamber). Another fascinating place is the MCH Twin Peaks Black Lodge, the entrance into a parallel universe, whose existence is nowadays regarded as possible even among the practitioners of modern science. Our knowledge reaches so far, that some of what has been considered unthinkable becomes a possibility.
Petra Malinová’s exhibition is the essence of delicate beauty that invites us to break away from the news of everyday life. In the artworks we can feel the desire to capture something essential from the reality of life and humility to nature. She collects grasses, herbs and flowers, which she inserts with respect to …her paintings, which complements the color pigments and the relief surface of the paintings offers us the opportunity to explore their structure. The drawings most often depict the proliferation of new life forms.
Petra Malinová chose the work of Olga Karlíková, with whom she shares a fascination with venturing under the surface of things and a desire to capture growth and the complex structures of substances.
The current exhibition of Vladimír Preclík Gallery presents a selection of artist´s artworks from the period 1960–1968 that belonged to the creative highlights this distinctive personality of Czech sculpture scene in the late 20th century. The beginnings of Vladimír Preclík´s artistic work were closely connected… with Hradec Králové where he was taught to be a carver. He gained sculptural skills at the Higher Technical School of Sculpture and Stonecutting in Hořice v Podkrkonoší, and at the Academy of Arts, Architecture and Design in Prague (Prof. J. Wagner´s studio).
In the 1960s he excelled as a portraitist and presented his works at the first individual and collective exhibitions of Trasa 54, which he was a member. After 1960, there was Preclík´s very intensive artistic period, which was fundamentally and positively influenced by the scholarship in France in 1965. The main common feature that time creation was material.
The artist was enchanted by wood – a traditional sculptural material that allowed him to combine the old carving tradition with the new sculptural tendencies. With this approach the author created a new visual language in which he emphasized the aesthetic quality of sculpture/objects in terms of form and colour processing. In wood he realized a number of key motives which resulted in the creation of sculptural cycles – Vertical Compositions, Treasuries, Concrets, Anti-Machines and Old Provencal Cities.