Zahradní ateliér / Garden Atelier - 2011
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Na Moravě měl český „underground“docela jinou podobu – byla méně okázalá než v pražském okruhu, zato však coby do počtu budoucích osobností českého umění plně srovnatelná – nebo možná úrodnější. Je to snad dáno prostým faktem, že komunistickému režimu vadilo hlavně psané slovo, přímá demonstrativní resistence strhávající na sebe pozornost Západu – což u abstraktnějších forem audio-visuálního umění nepřicházelo příliš v úvahu. I tady fungovaly docela dobře předvídatelné společenské mechanizmy: v devadesátých letech jsme měli na tak malou zemi ve vládě pozoruhodné množství literátů, dramatiků, divadelníků. Hudebníci a visuální umělci, kteří potřebují ke své tvorbě zcela jiné podmínky, odpadali z politického života hned na začátku svobodné éry.
Tím by se dala vysvětlit až nápadná apolitičnost české umělecké scény devadesátých let. Festival FORFEST, který byl logickým vyústěním našich snah, se v devadesátých letech vyprofiloval v širokou platformu, otevřenou všem aktuálním tendencím našeho i světového umění. Poznávacím znamením tu byl a stále zůstává onen klenbovní svorník, o kterém se zmiňuje Antoine de Saint-Exupéry ve své Citadele – často jsme se Zdenkou ve styku s novináři používali podobných jinotajů, které chytrým napoví a nedovtipným neposkytují žádnou záminku, které by se mohli chytit. Rychle se zapomíná, že v nejateističtější zemi Evropy bylo dlouho třeba volit formulace, které bránily odpalírovat nejoriginálnější hodnoty českého umění do sféry pouhých fundamentalistických okrajových snah. Základní myšlenkou zde bylo představit spirituálně orientované tendence jako podstatnou součást aktuálních proudů světového umění současnosti.
In Moravia had our Czech "underground" quite a different form - it was less spectacular than in the Prague circle, but as to the number of future celebrities of Czech art, it was fully comparable - or perhaps more fertile. This is perhaps due to this simple fact that the communist regime hated mostly written word, demonstrative resistance tearing down to themselves direct attention of the West - which the more abstract forms of audio-visual art was out of the question. Here worked quite predictable social mechanisms: in our small country during the nineties we had in the government a remarkable number of writers, playwrights, theater. Musicians and visual artists who need to work in very different conditions falled from political life at the beginning of democratic era.
By this could be explained very noticeable apolitical attitude of the Czech art scene of the nineties. FORFEST Festival, which was a logical result of our efforts, in the nineties profiled in a wide platform, open to all of current tendencies and world art. Cognitive sign here was this vault bolt, which alludes Antoine de Saint-Exupéry in his Citadel - in contact with journalists we often with Zdenka used similar allegory that tells something only to clever man and do not have anything that could be catch . Here quickly was forgotten that in the most atheistic country in Europe has been necessary to choose the formulation, which prevented destroy the most original values of Czech art - to send it into the realm of mere peripheral fundamentalist efforts. The basic idea here was to introduce spiritually-oriented tendencies as an essential part of the actual currents of the world art today.
GISSELLE EASTMAN - INTERNATIONAL MINI FESTIVAL OF ART AND MUSIC
OCTOBER 4-24, 2006 - BATON ROUGE, LOUISIANA, U. S. A.
" In comparison to the bright white space of the Baton Rouge Gallery, Vaculovic’s paintings were dark and fascinating, evoking images of mankind’s journey through life and into the afterlife. Each one depicted curiosity, struggle or fascination with the unknown, some moods accented with bright reds and greens and others expressed with muted browns, yellows. Members of the Louisiana Sinfonietta under Dr. Dinos Constantinides performed Thursday evening with equal conviction...Brittle Relations of Peter Graham contains beautiful colors and sonorities that create a solid foundation to highlight the soloist’s talents. The acoustics in the gallery created a very exposed sound that was actually quite appropriate for this piece, and Vaculicova took that opportunity to seize the audience’s attention with her performance.
Third on the program came Grail: After the painting of Vaclav Vaculovic for String Orchestra from American composer Theodore Wiprud. Wiprud’s piece was stunning as played by the Sinfonietta musicians, sometimes filled with complex textures and tortured undercurrents, other times pensive and lyrical. The piece was a perfect complement to Vaculovic’s paintings, which expressed the same undulations and fascination with the unknown... Overall, the concert was very well balanced and filled with variety. The soloists were standouts and were highlights of the evening. The program was complimentary to the artwork, even, as it explored many facets of music from the melancholy (like the approach to death) to the flowing (search for the afterlife) and onward to a reflection and then joy (much like the final two pieces), which rose above and uplifted the spirits of those listening. The Baton Rouge gallery was the perfect setting for such an intimate and memorable performance, as it allowed the audience to experience both the visual and aural aspects simultaneously. Bravo!"
