Kabinet grafiky Olomouc / Cabinet of graphics Olomouc 94
Mánes Praha 97 / Mánes Praha 97
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The Muses In Kromeriz are walking, accompanied
/ Czech prominent magazine of contemporary arts ATELIÉR 19-2011 /
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Incomplete notes participant of observer about the International Festival of Contemporary Art with a spiritual orientation - XXII. Forfest Festival - Czech Republic 2011
Marian Paukov / art historian /
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About the Kromeriz as a whole the city we can say that it is one large master-piece of art, where the historic sights are penetrating nature scene and partly peasant background, which was with its sound surroundings definitely the best possible background for all activities of the International Festival of Contemporary Art with a spiritual orientation - XXII. Forfest Festival - Czech Republic the 2011
With the seats and the time range: Kromeriz, Olomouc - Bratislava, 12 June 2011 - 5 October 2011. I am writing this information on nearly four days of personal participation - the exhibition of Bohuslav Reynek I did not saw, but I saw her preparing of the installation. From this incompletion of information and from information of direct participants - it was probably the culmination of art-literary events.
If the symbol of the connection of sea and culture through the summer are perhaps most Venice, so you will find the enthusiasts from the world who come to Kromeriz to give up homage by active participation to "sea of Spirit" - genius loci with a unique artistic and cultural atmosphere and environment filled by quintessence of spirituality. Although this is a different type of event and the event in a much smaller scale such as the Venice Biennale art that is about music and art event, like the modern Venetian phenomenon appeared in the same form for the presence of unique connectivity music, Arts, and spirituality. It was mainly an festival of art, lectures and performances, and especially of thinking through the beatific "earthly lagoon" of the art and human communication.
Plafón of Assembly hall of Archbishop chateau where are played out most concert events, is not covered by frescos, but by large dimension of oil paintings. This technique also like to invite evoked mainly to oil paintings on the second floor of the famous art gallery in Kromeriz. World Music and art are the Muses, who not only "walk in the company," but is "finalized" in the most unlikely contexts. One such event was as "complete" glass sculpture of artist Marek Trizuljak
/ Slovak living in Moravia /, composer Michael Rataj - as a "basis" for "sound sculpture" has demonstrated in a cold environment Salla Terrena of the Castle. What is happening with the arts (even after its completion) is a form of the arts - especially in its spiritual sense - although such forms as it ever was in Venice, we would like art synestetic to enrich - including with the connection on the tactile and olfactory senses.
The famous Titian painting "Apollo punishes Marsyása" originated not only in an environment of musicians, but especially in the wider environment unmusical dramatic fate of life flowing mainly through cinquecento lagoon and through all of today's Italy and, indirectly, through the whole western-oriental world. English composer David Mathews this year as well as after many more years came to Kromeriz to see this masterwork. In 2003, composer introduced on the FORFEST composition of the same name in honor of Italian master.
As this picture can be read at least in three ways, so at least three ways was the previous code dkódované effort Vaclav Vaculovič, painter, musician and "literary arts" and his musician wife, Zdenka, explicitly pointing to the fact that this image was given to possible next crest Kromeriz: 1 Fine Art by them is not a separate enclave separated from the other arts, especially music and literature by: 2 spiritual art deserves a lot more care than he pays attention to the environment všepohlcujúcej commercialization, and banalisation spektakularizácie. Third therefore be organized as a countercurrent nespektakularitu spirituality to its direct demonstration of the dialogue in the spirit of the Platonic form of symposia in theoretical symposium. Rather, the salon every day present, reflecting the contemporary spiritual art form, what happened to the skilled performances of domestic and foreign experts in philosophy, liturgy, theory and criticism of contemporary music and visual arts and related disciplines.
As this picture can be read at least in three ways, so at least three ways was the previous code - effort of Vaclav Vaculovič, painter, musician and "dramaturg of Arts" and his wife, Zdenka, musician , explicitly pointing to the fact that this image was given to possible next crest Kromeriz:
1 / Fine Art by them is not a separate enclave from the other arts, especially music and literature by: 2 / spiritual art deserves a lot more care than today society pays attention to the environment all consuming commercialization, and spectacular banalisation . 3 / therefore be organized as a countercurrent unpretentiousness of spirituality to its direct demonstration of the dialogue in the spirit of the Platonic ideas in the form of theoretical symposium. Rather better say: every day present salon , reflecting the contemporary spiritual art form - what in the fact happened by the skilled lectures of domestic and foreign experts in philosophy, liturgy, theory and criticism of contemporary music and visual arts and related disciplines.
Search for current role, the current situation of art in contemporary global society is the main idea of this biennial colloquium XXII. Festival. We talk about the threat of high culture as a whole in the post-industrial Europe. The organization of art in international units seems to be the only possible way to cross the narrow limits of regional and commercial interests - that threaten to completely absorb the message of the original art. Festival had cooperated during the last two decades with many leading personalities of international art scene - whose work significantly influenced the contemporary art world. This year of Festival will be almost the little retrospective – historical reflection, the memory has been one of the fundamental features of European culture ...
Zdenka a Václav Vaculovičovi
If the hidden motive of painting that Vaclav Vaculovič is introducing in the broader domestic and world environment are energy and fire hidden "in visuality" and the width of the associated framework emanating from his paintings most probably represents the arc - a rainbow aura , arching over it - verbally and creation - revealed by Tizian and Goya. Also this second great artist was remembered on the Forfest - art and music as a prefiguration / for Vaclav Vaculovič and William Feasley /. Goya's last paintings of life were marked by auditory dis-conformity, but the more he is at expressing synestetic quality - perhaps it was a hidden motive for perpetuation in works of painter and musician...
In 2007 I was the curator of the exhibition Vaclav Vaculovič in the Presidential Palace in Bratislava. In my speech http://marian.dopohody.sk/index.php?polozka=40 / I pointed out that as a musician author considers its figural motifs as a starting point and also a sort of Preludes for his monumental figurative paintings . / If I remember correctly, Zdenka Vaculovičová premiered Violin work by Ilja Zeljenka at this occasion /. Since the seventies pre-expressed and uttered his paintings and artistic motifs, which were later developed, enriched, but also radically transformed in the following decades of the creative path. It was materialization in the spirit of Pierre de Chardin´s work "purifying fire of the Holy Trinity." Vaclav Vaculovič is not only a painter - a musician, poet / as we can convince from the texts to his own creation). He is also art editor and sensitive photographer - projecting and making each photo by "tonal" identical optic. At the time of the Internet it will be possible done idea about this (http://www.uloz.to/9670179/foto-prilohy-k-clanku-mariana-paukova-rar).
Today, after the experiences of Vaculovič´s dramaturgical presentation on Forfest Festival and especially from the fact, that together with his wife are not just organizers, but the souls of the event / developed from a friendly-art meeting a few decades ago /, I have become convinced that in connection with the Vaculovič´s formation can be uttered the idea that really 'renaissance is not over yet " / he might have said that it is a small space, because he love - in the connection of his paintings - distant areas of California /, mainly the Venetian branch, when the painters were creating their works in an environment filled with music, poetry and atmosphere of art - there was a two-sided dependence and care about "genre of life" and "genre of art." Renaissance personalities are living among us, we just do not know about it.
Presentations of colleagues philosophers, art theorists at the symposium, held parallely during the festival, would deserve more space for their inspirational contents, for this reason I don´t mention them because of lack of space, and because of the proximity to the presented projects - here I refer to my ideas from this seminar - In the great art, it was not primarily about the paintings / but it is somehow "in the second plan" that would not want to sound as a pejorative). It was all about "economics" / etymologically icon evocative also this, and not only painting / human relations. Even the Rublev´s icon "Trinity" just wanted to give the following equivalent of relations of traditional Christian spirituality - and even among the divine persons and the hesychastic - psychosomatic monks that were 'praying by work". Kazimir Malevich is in this spiritual orientation - even despite verbally opposing statements - congenial to Rublev, he can be confidently called "Rublev of 20th Century " - but Malevič´s spirituality shines especially from "infinity of faces" - people loving metaphysical dimension of life and art. Such a "glimpse of infinity" perhaps saw all participants of Kromeriz Forfest on most events, especially at the Garden Atelier of Vaclav Vaculovič , but even after hearing and presentation of the many musical and theoretical-reflective works.
On Thursday / June 23 / morning visit of Garden studio / in preparation for exhibition in Bratislava) was - among others - a reminder of the glorious tradition, which was later forget that with the purchase of the painting was also bought its technology demonstration - recognition of "kitchen" of artist. I literally saw fire furnace, mostly figurative-abstract, large-size oils on canvases, whose "right place" was not intended into any gallery, but into the "infinite" space of arcade local Flower Garden / which is actually a documentary took place in the past /.
I would like to write that if have been said about Cezanne that he was "thinking apples", so for our painter, we can perhaps say that he is "thinking by the whole Kroměříž". In their Garden studio echoed to me the typical village sounds, which we cannot heard in the city. In the Sala Terrena of Castle I did not know during one concert whether there are sounds of natural bell or "artificial inside". I will return to the garden atelier - there echoed to me also the melodic and rhythmic structure of a guitar solo-concert by American William Feasley / during another day he presented a remarkable virtual - a fine balladic, lyrical and expressive - paintings of his father Robert Feasley /, which was composed on the Goya-Vaculovič´s motives.
A versatile artist, a university teacher doc. Dana Puchnarová presented in addition to her theoretical lecture in the framework of festival symposium also her solo exhibition and a video-presentzation / during opening evening / with title "Kosmos, color, energy" in the historical museum building Orlovna, which was in very close connection with the spirit of the festival. If, on the one hand, she sent some hexagrams into the space, on the other hand, the painter sought a "whitening" or layered increasing transparency of its visual, graphic - and spiritually oriented - motives. By this way she "animated", perhaps with a hidden sense of humor, her "bee combs" - referring to the all pervasive "network". Also from the theoretical lecture by Dana Puchnarová we feel the same intent, calling - not to forget "arts from below" is not enough just to be "networked", but should strive for an honest "spiritual work" hands and the whole personality.
I ask myself whether in the sphere of "finalization" or "virtual framing" presented works by the Italian multimedia artist and theorist Tommasina Squadrito, includes also the "voices" of vernisage audience - exhibited drawings and photos were like "Project of Project" to videoart of this Palermo artist. Her images had minimalist, but in the sense of sensory augmentation - "maximalist" - character. Fine lyrical white non-images raised up almost Malevič´s metaphysics. It evoked not only the Italian abstract painting and graphic art of 'golden' sixties, but were also allusive, say derridovsky white, "disappearing letters." Certainly is eloquent Tommasino´s videoart with title:"Maria Zambrano Station" / MZ - important Spanish writer and philosopher of 2Oth century, born in Malag /.
Perhaps here we can remind statement of artist, loving nomadic lifestyle and everything exotic - such as Gnosticism and Sufism, and especially the Spanish mystic of 16th century - Juan de la Crust: "How the thinking is clearer - it is more distinguished by its categorization, and harmonic music feeling." Perhaps a better motto theory of Kromeriz festival we cannot even imagine - to which we had been invited by this artist (and very fruitful bloggist) from Palermo, famous for her multimedia activities from other towns of Moravia. The Italian artist convince us that the special and essential and innermost motíve of artist - his metahabilita - is a reflection of his own style, which it richly deserved Venetian /music/, colorists, "imitating themselves." Today we would say: self-parody - but is not this also the most direct path to spirituality? The more the artist makes more laboratory, so it is more open to others, the more socio-able and hence in the true sense of spiritual, in a time when word "spiritual" has become profaned.
I have not given you an overview of the major music programs, yet the possible synestetic - not only tautological rewriting - intrusions, I can not avoid to mention the re-premiered part of the composition "24 watercolors" by Prof. Peter Graham / JAMU Brno / in interpretation, more abroad than in Slovakia known, virtuoso pianist doc. Elena Letňanová. I could not not-think about a revolution in watercolor technique in 19th century in England, provoking oil painting, in order to became so similar transparent. Looking and hearing a piano virtuosity - my mind gone astray in the upper right image of Titian "Marsyas", on which are traces of finger painting. There are - there and there - finger prints of fine orchestration, that violin (viola better) hints (again a hint and not sign) left (left "Dionýz" a right "Apollón" hands of pianist) hands of satyr.
Graham's piece evoked the barely detectable delicacy and subtlety of colored chord structure. The Titian was a contrast and counterpoint (conventionally speaking: form and content) to the brutal actions. In Graham composition we can say about a surge "brutal" and graduated dramatic subtlety. As I mentioned to doc. Dana Puchnarova before my departure, I see her image and object installation - among others - as a spatial hexagram score - if not for six players, but somehow, perhaps rather humorously, associating "imitation" of hexagram theme.
In conclusion: as a literary companion and friend of the painter Titian Aretino wrote, "In your style are living hidden thoughts of a new nature", as part of art - or better - in no less degree, inducing artistry of the music (I did not mention the other interesting and no-tautologic "transcripts" from the visuality to music) about Forfest we can write that there does not live just only thought people but also with baroque art - "unfinished projects" - feeling the light of spiritually oriented art - as are standing at subtitle of Kromeriz festival.
One "pure" painting lesson by Paul Klee: he advised to paint with left hand. There is not just anthropology of painting , but a necessary "intonation of left-hand" across of cultures, in addition to the overuse of technology-right direction of humanity. It will be not likely disclosure dramaturgical plan of Vaclav and Zdenka Vaculovič that seek to invite celebrities domestic and foreign music, to write a similarly inspired works, as it did English composer in 2003. Not encourage and does not refer to it also the left hand of the Titian Kromeriz Satyr?
