Zahradní ateliér / Garden Atelier
Potřeba stáhnout se do intimity domova dnes opět připomíná dobu 80.let – zahradní ateliér je vlastně přirozeným pokračováním neoficiálních Sedánek před dvěma dekádami. Zdálo se nám se Zdenkou, že si musíme nechat nějaký soukromý prostor pro sebe a naše přátele. V době nastupující krize si mnoho lidí uvědomuje sílu ničím nezatíženého prostoru, který zůstal duchovním majetkem jednotlivce. Nebýt zázemí tohoto kousku svobody - asi bychom se brzo všichni stali prázdnou čekárnou trhu, který svými čistě komerčními vztahy ničí lidské životy.
Zahradní ateliér je tedy po dvě desetiletí jakýmsi doplňkem oficiální části festivalu. Během devadesátých let jsme se pokoušeli udržet myšlenku neoficiálních výstav – doba se však prudce měnila před očima: kolegové výtvarníci se mezitím stali národní umělci a o neformální setkávání už nestáli. Neměli jsme jim to za zlé – šlo o otázku přežití, nikdo by se patrně nechtěl dožít toho jak jeho obrazy hnijí někde ve sklepě nedobrovolných majitelů.
Po všech výstavách doma i v zahraničí jsem si najednou uvědomil, že chci především dokončit dílo – už se mně příčilo platit nesmyslné částky galeristům za nájmy výstav či transporty obrazů. Všechny tyto vnější věci ustupovaly do pozadí – podstatný byl hnací motor malby samé a chvíle, kdy člověk cítí možnost vyjádřit něco, co tady ještě není.
Ten soukromý prostor byl najednou důležitý z mnoha důvodů. V posledních letech jsme se Zdenkou cítili určité rozpaky okolí kam nás zařadit – myslím, že nástup skromnějších podmínek vše vysvětlil: nikdy jsme nebyli funkcionáři či zaměstnanci čehokoliv nebo kohokoliv v souvislosti s festivalem. Ta nezávislost byla koneckonců osvobozující, naše sny sice rozprášila realita konzumní společnosti - která si mimochodem v krutosti dopadu na lidskou existenci v ničem nezadá s tlakem normalizace – ale zůstali jsme relativně svobodní.
Vrátila se mně chuť obdivovat maličkosti každodenního života – vše se v posledku stává zátiším plné neopakovatelných barev a tvarů, před jejichž tichým dechem blednou všechny koncepty postmoderny. Žít a vidět nad sebou modrou oblohu je najednou tisíckrát důležitější pro to, abychom zůstali především lidmi…
Garden studio
The need to withdraw into the intimacy home today recalls the time 80's - garden studio is actually a natural continuation of the unofficial meetings called Sedánky two decades ago. It seemed to us with Zdenka, that we must have some private space for ourselves and our friends. Many people at this time of the coming world crisis are realizing the power of space unencumbered by anything, which remained the spiritual property of the individual. Without this background of a bit of freedom - perhaps we all would become very soon the empty waiting room of market, which in its commercial relations destroys human lives.
Garden studio is so for two decades a sort of complement to the formal part of the festival. During the nineties, we tried to keep the idea of unofficial exhibitions - but time is rapidly changing before our eyes: fellow artists, meanwhile, became national artists, and informal meetings already was no their interest. We did not blame them - in fact it was a question of survival, no one would probably to see own paintings of rotting somewhere in the cellar of involuntary owners.
After all exhibitions at home and abroad, I suddenly realized that I want preliminary to finish my work - it went against my will to pay blatant amounts of money for rent of exhibitions of gallery owners or transports of canvases. All these external things receded into the background - what remained was a significant driving force of painting itself, and moments when one feels an opportunity to express something that is not here yet.
This private space was suddenly important for many reasons. In last recent years we have felt with Zdenka some embarrassment of our neighborhood regarding our work - I think that the advent of more modest terms explained everything: we were never be officials or employees of anyone or any institution in connection with the festival. This independence was ultimately liberating, although our dreams were scattered by reality of consumer society - which by severity of the impact on human existence is certainly comparable with pressure of normalization - but we stayed relatively free.
It came to me back the taste to admire little things of everyday life - everything in the end becomes landscape full of colors and shapes - there all concepts of postmodernism are fading after all. To live and see the blue sky above - is at once a thousand times more important for eternal life...
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Work and SolitudeKarel Křepelka's Critique of Václav Vaculovič's Art Exhibition |
| We meet here with art that arises from solitude. Solitude is necessary for the birth of any work that draws strength from its weakness vulnerability. This work arises and performs in seclusion out the noisy public interest of "experts" with infallible senses of smell - and out of the interest of lobby specialists whose infallible sense of smell is near the earth. This work grows from solitude, which the anxiety of existence. and its questions from nobility face nothingness and reach the heart of the matter, where the heart is already identically linked with the fertile womb. Because the existence is always concerned with the growth and maturation of a vegetable, the little key grows and ripens by means of delicate vulnerability. ? Actually, we feel almost tangibly how this work -. which in a humble, way accepts the seriousness of existence - matures and--develops into a fruit, when we too of ten see only greenish unripe crab-apples This work was able to get rid of false existence. It knows that true reality is invisible. It was also able to refuse false spirituality, because it knows that reality is spiritual and you cannot grasp it by your own power, but you can come nearer by means of your love. In the text mentioned above, we can extract three words :anxiety, existence and love. They are the cornerstones of the whole work - and one crucial word connects these three words : the CROSS, which is presented as the mystery of faith. It is not "Christian art" because of its confession, but because of its mystery, its silence, and its calmness. Mystery, after all, is not what we do not know, but what we do not talk about. What the work doe s not mention is that it knows loneliness in these bitter moments, when nothing is owed get everything has been already been paid? Notice the figures in the paintings in. their huddle. It is the motion of anxiety, the motion back to the womb. And all at once, we realize the paradox, which is the paradox of Christianity - that the figures are crouchig in a huddle, It may be the mystery of humbleness or already the rustle of Angel?s wings, that reminded us of the unbearable Lost Paradise on whose horizon we can find the Cross. And in this art The Cross is present - not as a visible symbol of faith ?- but as a secret sign of salvation, whose presence can be felt as a duration, in the space after the moment, when the figures in the paintings blessed themselves in a secret way but still with all nobility .For the Cross surviving in the space forms with its wings the space of these paintings. We can find what František Bílek used to call, "Dejection from The Body, The World and The Canopy of Heaven", Even the light means gravity here. We can feel it as the burden of light, which is weighing on us. Even the Annunciation, this mystery of Incarnation, is covered here with the Light. Everything which happeness in the inner life of these paintings is hidden with the cover of light. Everything which happeness in the inner life of these paintings is hidden with the cover of light..For light does not make visible, but creates the space of mystery, and light - like love - symbolizes a bond, Furthermore, love frees, thus fit binds, The infinitude of Light makes the space infinite by means of definition. That is why there is no despotism and false freedom purposely depicted. That is why huddle of figures, which are, in fact , portraits and self-portraits are without faces, of the state of mind and soul. They are in order - that is,they are in liturgical order, where through the boundary of solitude and the utmost secrets of the whole communion, faith happenes.If this art is by means of the mystery of the Cross from liturgical order,then it is necessary and eschatologica,for only through the vision and suspicion of disasters in man?s soul,the Earth?s face is restored. Under these circumstances,the picture becomes,first of all,the "omen" in the New Testament sense of the word. It is the space, where it binds and unbinds and we wonder if the band reaching into the space of the painting entitled "I cannot see you" is the hand hopelessly groping or the hand inviting or repudiating.Its motion remains unclear for us.We only suspect that it grows into the space of Light,for in the whole work there is only a realization of' Light. And, according to John the Evangelist, the Light is inseparable from the life,truth and 1ove. To "go to the light" means to abandon death, which we can see as the fruit of a crippled creature. The light is the guarantee of duration, because duraticn is the humility of elapsing time. And, nbecause there is the relation between The Líght and The Word,which can be called the mystery of the Word. For to picture means to express truly invisible.In the beginning was the Word,which was embodied... And these paintings are paintings to the extent that thay can be the space of the Word and the space of the Light. The space of the realization of Light, is the space of anxiety, and of existence, when we forever feel the mystery of the blessing from the Cross. The ”nonsense” of the Cross will forever be the sense of human existence and the sense of art. For art can only go in the Way of the Cross. Like everything in this world, even art must be nailed to the Cross. For only art, to which the world is nailed and which is nailed to the world is meaningful /Ga 6,14 /. And the art which is – a bit unluckily – titled ” Christian Art” can be divided into the art of believing only in God and The one which has always believed in God. Here we find the art which has always believed in God. |
