|
|
Primal sources of inspiration in czech art 1980-2015
Steigerwaldová, Kristýna ; Klimešová, Marie (advisor) ; Fišer, Marcel (referee)
Main focus of this work is to compare and map the evolution of primal sources of inspiration in Czech art in the years 1980-2015. It brings the overview of the authors, who adopted the elements of visual reality, and describes the ways how they used it in their works. Highlighted are the authors whose works are influenced by some of the following topics: commerce and kitch, pornography, comic books, graffiti and street art, folklore, culture of natural nation and childs drawings. Reasons and motivation of the authors for using these extraordinary ways of expression are also clarified. The main part of the work is completed by a context of the exhibitions which took place in the defined time period and follow the topic. It is possible to imagine the evolution and the meaning of primal sources of inspiration in the context of post modern art, according to the basis of the discovered findings.
|
|
|
The architectural participation of Czech artists at world axpositions in the years 1900 - 1940.
Pavlíková, Veronika ; Biegel, Richard (advisor) ; Klimešová, Marie (referee)
This thesis deals with Czechoslovakian pavilion architecture at the world exhibitions in the first half of the 20th century. The thesis is divided into three sections. The first section deals with a participation of Czech artists at the world exhibitions before the creation of independent Czechoslovakia. Next two sections focus on Czechoslovakian representation at the world exhibitions in the twenties and thirties of the 20th century. The thesis deals closer with preparations, looking for a basic solutions, choosing of architects and requirements which have been imposed on them. In the conclusion there is outlined development of our participation at the world exhibitions in a given period and its way to the famous EXPO 58.
|
|
|
Eva Kmentová and the Body Imprint in the Sixties and Seventies Art
Hrušková, Tereza ; Klimešová, Marie (advisor) ; Wittlich, Petr (referee)
The bachelor thesis deals with the physical imprint in the sixties and seventies Art. The time limitation is mainly based on the selected works of sculptor Eva Kmentová (1928-1980), in which the phenomenon of body imprint is present. The issue of body imprint is gripped in a broader theoretical context and is based on two decisive foreign works. Primarily the book of George Didi - Huberman Le Ressemblance par contace, and secondly the theoretical thesis of Rosalind Krauss and Yve-Alain Bois in their catalogue Formless : A User's Guide to the exhibition L'informe. The bachelor thesis shows a possible view on the body imprint as a dialectic phenomenon generated by meeting of formlessness - shapeless mass and of the form - represented by imprinted object. For deeper understanding of Eva Kmentová's background, the chapter summarizing the changes in Czechoslovakian informel art in the late fifties and early sixties is included. Within the context of imprint's indexical value the bachelor thesis turns to Roland Barthes and his theory of photography. It is noted that both the photography and the physical three-dimensional imprint share the barthesian values. Selected works of Eva Kmentová from the late sixties and early seventies are subjected to deeper analysis from the defined perspective of the...
|
|
|
Exhibition versus "exhibitioning". The Czechoslovak pavilions at Expo 1967 in Montreal and Expo 1970 in Osaka
Nekvindová, Terezie ; Klimešová, Marie (advisor) ; Šetlík, Jiří (referee) ; Švácha, Rostislav (referee)
The paper focuses on the Czechoslovak pavilions at the 1967 and 1970 World Expos. Both events took place in the period around 1968, when, however briefly, the Czechoslovak visual arts partially overlapped with the state's cultural policy. The pavilions (especially at Expo 70) also reflected the socio- political contexts of the year 1968.. In Czechoslovakia towards the end of the 1960s, the purpose of "exhibitioning" - i.e., the state-sponsored exhibition trade - was to communicate with the public and to (re)present the country abroad. Its main goal was to promote and spread the ruling ideology. On the other hand, the Czechoslovak visual arts scene was beginning to consciously work with the medium of the exhibition as a comprehensively composed unit, either through innovative exhibition design and installation or through installation art. While the exhibition trade reached its high point in the 1960s and began to disintegrate into rigid mannerism towards the end of the decade, real experiments with the format of the art exhibition were just beginning. This study focuses on the question of how these two fields (art and the exhibition trade) approached the medium of the exhibition in the 1960s. I study the Czechoslovak pavilions as a cultural artifact in which aesthetic, social, political, and economic forces...
|
|
|
The RADAR Group
Tučková, Kateřina ; Klimešová, Marie (advisor) ; Pomajzlová, Alena (referee) ; Lahoda, Vojtěch (referee)
THESIS ABSTRACT The thesis named The Radar Group deals with one of the creative groups that entered the Czech artistic scene after 1956, after the 20th Congress of the Soviet Communist Party (SCP) in February 1956, when the establishment of minor associations within the Union of Czechoslovak Artists was allowed. The Radar Group announced its foundation in 1960 and presented its first independent exhibition in 1961. It introduced eighteen members, of whom the most significant authors from the ranks of the defunct Group 42 (Skupina 42) - František Gross, František Hudeček a Ladislav Zívr - belonged to the established artists of previous generation. The majority of younger members born between 1923 and 1930 introduced their painting, sculptural and graphical works at the exhibition mostly for the first time. The members of the Radar Group may be regarded as the representatives of so- called "tame modern art" who took up to the pre-war modernism in the loosening period of the late 1950's. Their status within the contemporary scene was very high as they were coming out of the positions shielded by the Union - most were the Union members, some even functionaries in the Union senior management. This is the reason why the group did not become a part of the opposing Block of Art Groups (Blok tvůrčích skupin), though...
|
|
| |
|
|
Julius Koller and art archive
Poliačková, Martina ; Lahoda, Vojtěch (advisor) ; Klimešová, Marie (referee)
Univerzita Karlova v Praze Filozofická fakulta, Ústav pro dějiny umění BAKALÁRSKA PRÁCA Martina Poliačková Július Koller a umelecký archív Julius Koller and art archive Rada by som poďakovala vedeniu katedry a hlavne vedúcemu práce Prof. PhDr. Vojtěchovi Lahodovi za trpezlivosť a Mgr. Janovi Wollnerovi za bystré postrehy. Následne ďakujem Anne Zborovskej za dôveru a bc. Barbore Švehlákovej za vieru, že problematika umeleckého archívu nie je vyčerpaným tématom. Prehlasujem, že som túto baklársku prácu vypracovala samostatne, že som riadne citovala všetky použité pramene a literatúru, a že práca nebola použitá v rámci iného vysokoškolského štúdia či k získaniu iného alebo rovnakého titulu. V Prahe, dňa 17. 8. 2014 Bakalárska práca sa venuje tématu umeleckého archívu s dôrazom na archív Júliusa Kollera. Zaoberá sa obecnými diskurzívnymi rámcami poňatia archívu a špecifickou podobou, ktorú nadobúda v umeleckej produkcii. Ukazuje Kollerovu archívnu činnosť ako celok s jeho konceptuálnou tvorbou a v kontexte seba-historizačných praktík, typických pre situáciu zemí bývalého východného bloku. Popisuje podobné stratégie v činnosti skupiny IRWIN, Museum of American Art v Berlíne, Lia Perjovschi, J. H. Kocman, KwieKulik, Artpool Art Research Center, Tamás St. Auby a Ilja Kabakov. V ďalšiej časti popisuje...
|
|
|
Modern Czech mosaic art as a specific kind of art in architecture the second half of the 20th century
Vicherková, Veronika ; Klimešová, Marie (advisor) ; Tesař, František (referee)
(in English): Present thesis is foucused on mosaic art as a prticular type of art in architecture, shows the specifical means of expression in mosaic art. It describes the political and sociological conditions of connection of architecture with applied art in Czechoslovakia in 2nd half of 20th century. It follows the history and development of mosaic art in first and in second half of 20th. century and represents the main authors and projects. It points the problematic todays reflection of public art of communistic era in Czechoslovakia. The thesis brings a selected image- catalogue and comprehensive written inventory of traced projects.
|
|
|
Věra Janoušková - "I sew the enamel sculptures like the scenes made from tatters" (textile collages and enamel sculptures)
Čejková, Markéta ; Klimešová, Marie (advisor) ; Lahoda, Vojtěch (referee)
ASTRACT: The thesis deals with textile collages and enamel sculptures and their mutual relation of a Czech sculptor Vera Janouskova, which have been made since forties till the first decade of 21th century. The first chapter focuses on biographical data and memories of Vera Janouskova, primarily aimed to facts important for the works in textile collages and enamel sculptures. The second chapter focuses on textile collages and begins with Roger Bissiere collages which inspired Vera Janouskova, continues with a detailed description of her three most known textile collages and presents a minor, not yet published textile collage hanging in Vera Janouskova studio. This chapter also analyses the terminology used for textile collages and tapistry. The third chapter, which is the most wide, deals with enamel sculptures. It begins with their categorisation based on their timing and topics they cover. Individual decades are initiated with a short information on the time period the groups of enamel sculptures were made in. Selected enamel sculptures are described in detail. Prior to the detailed analysis of the groups of enamel sculptures there are subchapters dedicated to the relation of Vera Janouskova enamel sculptures to the artistic scene in Europe, USA and also in Czechoslovakia. The works of several artists...
|
|
|
Denmark - Czechoslovakia 1947-1957, The Art and Architecture Beyond Functionalism, Surrealism and Bauhaus
Ištok, Radoslav ; Klimešová, Marie (advisor) ; Rasmussen, Mikkel Bolt (referee)
! The thesis is exploring art and architecture in Denmark and Czechoslovakia in the period 1947-1957. The main interest was to see how the interwar avant-garde movements such as Functionalism and Surrealism, as well as the legacy of Bauhaus, developed after the WWII. Yet, Functionalism and Surrealism can also be seen not only as mere artistic styles but as two different attitudes towards life, Rational and Romantic respectively. The latter, which is a passionate protest against the status quo, can especially in its revolutionary or utopian dimension serve as a form of engagement free of the simplifying Cold War binaries.
|
guest ::
RSS feed.