Past Exhibitions:

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Exhibition History 2001

Chlupač

Sculptures - Miloslav Chlupáč

17. listopadu 2001 - 31. března 2002

A retrospective exhibition that, before coming to Museum Kampa in Prague, was also shown in the State Gallery in Náchod and the Egon Schiele Center in Český Krumlov. Miloslav Chlupáč's works include drawings, sculpture as well as painting. French and Czech Cubism and the inter-war period avant-garde artists originally inspired his early work. Later, as his work evolved into his own individual style, he became to believe that form and content are of equal importance. His work is basically figural, however with simplicity that at times almost reaches the pure abstract. The relationship between his works and the nature and landscape into which they are placed is very important for the artist, as is the relationship between mankind and his surrounding environment. His sculptures range from the more intimate, perfect for closed chamber-like spaces, to large monumental works best suited for presentation in dominant landscapes and urban spaces. This retrospective exhibition presents his work from the mid 1950's to the present day and is accompanied by a catalogue. 


Tkané objekty - Jagoda Buić

Buic

The first exhibition presenting Jagoda Bui?'s work at Museum Kampa is held in honor of two men: Jan Mládek and Hans Wutke. Jan Mládek, my husband, was, since the foundation of the International Monetary Fund in 1945, one of its first executive directors representing Czechoslovakia, Yugoslavia and Poland. He was convinced that if culture survived, the nation would survive too, and helped me enthusiastically to support culture in countries occupied first by Communist parties and then by the Russian army.

Hans Wutke, Jagoda Bui?'s husband, was vice-President of the World Bank and President of the International Finance Corporation in Washington. He also provided help, especially since 1991, during the outbreak of war in Yugoslavia, when Jagoda interrupted her artistic career to be fully engaged in humanitarian help for Dalmatia, where she was born and to where she keeps returning.

Unfortunately enough, our husbands did not live to see this day. We are opening this exhibition in their honor on the occasion of the contest for the best book on economy in 2001, which will be awarded in Prague this year.

I first met with the work of Jagoda Bui? at the ROSK international exhibition in Ireland in 1971, which was called "La poesie de la vision" and was arranged by the then most renowned authorities in the field of modern arts in the West: Jane Sweeney, the director of the Guggenheim Museum in New York, Werner Schmalenbach, the director of the Kunsthalle in Dusseldorf and Ponte Hunten, the director of the Centre Pompidou in Paris. At this exhibition, Jagoda met Henry Moore, who felt enthusiastic about her art and became her true friend. This positive contact with the great sculpture and James Sweeney's understanding - he was called "the American eye – for his unerring instinct for the quality of works of art –" definitely had a strong influence on the development of her artistic expression. At this prestigious exhibition, the work of Jagoda Bui? aroused considerable interest amongst art historians and directors of museums, who had come to see the selection made by the famous authorities mentioned above. The result of this success was that as early as 1975, Jagoda held an independent exhibition at the Museum of Modern Arts of the City of Paris and was awarded the main prize at the XIII biennial art festival in Sao Paulo in the same year.

In the 1970's, artists in the former Eastern bloc, who did not join the communist party, suffered from discrimination. They were not allowed to hold exhibitions and museums were not allowed to buy their works, and therefore only the strongest survived. The governments only supported those artists who were willing to conform to the regime, or arts and crafts of an outstanding level, of which they could boast. Tapestry achieved a high level in Yugoslavia and Poland and glass in Czechoslovakia. They failed to notice the fact that Jagoda Bui? had developed her work in Yugoslavia, Magdalena Abakanowicz in Poland and Václav Cígler in Czechoslovakia; these artists matured from perfect craftsmanship to great art.

In 1979, I met Jagoda again in Dubrovník, where her exhibition was held in a large hall on the seacoast. I think the exhibition in Dubrovník, where her work came into being and where it is at home like herself, was one of her most beautiful. Water is her life. This is the element that inspires her and belongs to her and her work. She also exhibited her "Wounded Dove" there, one of her best works, which was made as a protest against the occupation of Czechoslovakia by the Russian army in 1968 and which she has always wished to give to Czechoslovakia. By being exhibited frequently, however, the work has suffered considerable damage and must be restored first. On meeting her at that time, I could not guess that I would someday organize one of her exhibitions and on top of that in a museum that I am creating by myself in my re-liberated country. Therefore, this is a happy moment in my life.

September 16 - October 28, 2001, Museum Kampa



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