Past Exhibitions:

2012 2011 2010 2009 2008 2007 2006 2005 2004 2003 2002 2001

2010 Exhibitions

Obrázek

Allowance organisation of the City of Prague

Posters designed by Jan Schmid for Studio Ypsilon

Forty-five years of Studio Ypsilon and the exhibition of theatrical posters designed by Jan Schmid for Studio Ypsilon over the years


The celebration of the 45th anniversary of SY has been symbolically ended with an exhibition of theatrical posters created by the director and artist Jan Schmid. During the official opening, at which spoke J. Kroutvor and B. Nuska, a catalogue and exclusive calendar featuring twelve of Jan Schmid’s posters was Christened.                                                

“A note to my exhibition in the former stables building of Sova’s Mills on Kampa. Because my posters are a part of the theatre, which we give life to, it can exist on its own, but primarily as an overlapping production from the viewpoint of the memory of the theatre, which performs always only today and at a specific time, or in something, that foreshadows the upcoming theatrical piece. This is why during the exhibition some of the members of the Ypsilon Theatre will perform live in the space, either sing, speak, act, or improvise. I am glad that this exhibition can have a random nature, be an occasional place of activity, in order for the presented picture to be a small part of the elemental integrity. To all of this I wish you bon appetit, good will and in the spirit of the theatre break a leg!”

Jan Schmid

Year’s jubilee of the 45th season of Studio Ypsilon is not only marked by various celebrations, but it also carries a return to the roots, a reminder of the Ypsilon’s beginnings in Liberec. This return to the source, to Ypsilon’s tradition, was ushered in with this year’s premiere of the play Amošt Goldflam’s “Babička se vrací” (Grandmother Returns) and Jan Schmid’s “TGM – Masaryk mezi minulostí a dneškem” (TGM – Masaryk between then and now). A celebratory evening was held on November 9th (during the evening all the current actors of the theatre appeared on stage and some of those that in the past helped in the artistic evolution of the theatre). This special evening was taped by ČT (Czech Television). During November various events were held as part of the anniversary celebrations – another year of the “Cute” festival, a non-traditional Ypsilon  style “symposium” and a happening of the so-called young Ypsilon “Kačeři pod lampou” (Ducks under the Lamp).!

Partner of the anniversary celebrations of Studio Ypsilon is the company Optys Opava 

December 17, 2010 - March 20, 2011

Obrázek

Georg Baselitz - Volk Ding Zero

The sculpture Volk Ding Zero – Folk Thing Zero (2009) by Georg Baselitz (born  January 23rd, 1938 as Hans-Georg Kern in Deutschbaselitz) is a three metre high bronze, which was cast in the spring of 2009 according to Mr. Baselitz’s painted sculpture made of cedar wood. Weighing around two and half tonnes this patinated bronze statue represents a man painted blue and white with oil paints sitting on a stool with classical ladies high heels on his feet. With his right hand touching his temple, this man has on his head a white hat which is in the shape of a paper hat, the type a person wears when trying to protect his or herself from drops of paint. The sculpture as a crude and expressive expression reminiscent of a rough drawing. Its head is a likeness of the artist, the first of its kind in bronze.

“Zero” is the name of the paints manufacturer, which specializes in varnishes and glazes. Hence, the title is in no way related to the well-known group of artists with the same name, which functioned from the late nineteen fifties until the beginning of the nineteen sixties. This confusion is a typical expression of Baselitz’s humour.

The seated position of the sculpture Volk Ding Zero – Folk Thing Zero (2009) with its hand on its temple refers to the Gothic motive of the Recumbent Christ with a slight difference, that the man is not looking down but looking forward into the distance. The left hand of this leaning seated figure rests lightly on his knee, the right touching his temple. This figural typus reflects “the solitary tolerance of the utmost possible pain”, formally oftentimes sketched with clumsy schematic limbs, where “in the forefront stands a physical fortitude” (Dr. Thomas Kellein, 2009). In the surroundings of the artist’s hometown Deutschbaselitz in Saxony near the Polish border stands in several places sculptural renderings of the Recumbent Christ. At the end of the 15th century in Germany, this motive was quite common and even today we find this theme in Polish folk art and in South-eastern Europe. Georg Baselitz for several years has been collecting African folk art, which inspires and fascinates him. In the statue Volk Ding Zero – Folk Thing Zero (2009), Baselitz overcomes the pathos in German folk art with its perspective of the portrayed figure in relation to the Earth. The seated statue with its taut position of the head looking forward, gains the totem like attribute of African figures, similar to the erect penis taken from African tribal art. This definitive separation of the traditional representation of the Recumbent Christ presents the grandeur of the sculpture and women’s shoes, for which the sitting man in his clumsy sturdiness presents certain brachial traits. Similar to the heroic paintings of the nineteen sixties Baselitz presents the life of a hardened person, whose suffering is undaunted and he himself has to start from zero and look forward – even if somewhat apathetically.

Foto:Oto Palán

Josef Svoboda – Robert Wilson

Comparative Exhibition of Work: Light up the Lights!

November 14, 2010 – February 6, 2011

The scenografic creations of Prof. Josef Svoboda (10. 5. 1920 – 8. 4. 2002) and Robert Wilson (4. 10. 1941) are fundamentally different then the rest in their field. What separates them is their comprehensive understanding of light as matter, which fills space and is constricted only by the physical objects within the scenography.

 In this manner, they instinctively fulfill the meaning of this conception. Moreover, it was Josef Svoboda who thoroughly described this style of scenography and internationally promoted it as the only system suitable for capturing the artistic connection of theatrical space. The capturing of its tangible and kinetic elements, its dynamic components i.e. such as light and movement of the actor within the given dramatization up to the resulting form, which in its fluidity has the ability to express through its distinct resources the theme of the production.

 Svoboda and Wilson perceive light waves, or the emanation of matter of its kind, or better said as a state of mass. I feel that in this correlation it is possible to use as a parallel the different states of water. On one side ice (mass), and on the other steam. It is therefore possible to deduce, that light is understood as an ethereal state of material components of scenography, its coloured surfaces etc. In order for light or a light wave to become visible on a stage, it must find (light up) in the space some kind of component. The ever-present micro-particles, which allow this is dust. Yes, for both of these Masters, the swirling of dust in the space of the stage is a physical principle of the magic of light.

 Svoboda and Wilson use the invention of light-mass in different ways. The theme of the exhibition Light up the Lights in Museum Kampa is to present three of the most important and innovative principles of the use of light characteristic for each artist. During Svoboda’s work with light, he had a tendency to emphasise to his dramatic potentiality.

Ak. arch. Daniel Dvořák

Ladislav Novák: We Doubted, Hated and Despaired

October 1 December 5, 2010

The collection of Jan and Meda Mladek is comprised of more than one hundred of Ladislav Novak’s works. The collection is of high quality and it is worth noting that it has never been published. A large selection of works from the collection was exhibited several years ago in the then newly reconstructed Chateaux Brewery in Litomyšl during Smetana’s Festival. The exhibition presented a representative selection from the collection, which mainly contains works from the author’s most important period, stretching from the earlier nineteen sixties until the end of the nineteen seventies. At that time, the author invented and creatively expanded his own methods. We see in these works typical examples of his Action Painting. Novák would pour paints on pages ripped from magazines or onto old musical scores and with a natural rhythm combined either texts or music.

The Décollages, from the first half of the nineteen sixties are very impressive. In this technique he would take either reproductions or magazine photographs of portraits and “blind” them (he would scratch their eyes out) which immediately changed the original meaning of the image. His Topological drawings, created during this same time period, emerged with one stroke of the pen and connected an austeric expression with an ever developing fantasy. The author played with print and word symbols and even their transforming meanings. Thus, the principle of minimalistic thought aligned with Surrealistic automatism. An unusual chapter amongst his creations is his so-called “fumages”, which he drew with the use of candle smoke. With the use of this method, he placed himself among a series of Czech and European artists who use traces of fire in their art.

The largest grouping of works in the collection is Novák’s Froissages in which the author applied his inexhaustible imagination. These works were created from the nineteen sixties until the nineteen nineties. He combined this basic technique with other methods, for example Alchemage and Collage. Reality along with strange visions is connected in these techniques, which is for Novák very characteristic. He is linked to several waves of Czech and Central European symbolism, which often carries traces of weirdness in an overlapping of dreamlike stories and fairytales. A connection to Alfred Kubin, Hanuš Schwaiger, Jaroslav Panušek or Josef Váchal and in literature Franz Kafka or Jakub Demel, whether it was conscious or subconscious is very visible.

When we go back into history, there is a connection with the alchemist laboratories of Emperor Rudolf’s court and his admirable collections. In any case, Novák implements in his Froissages a distinctive sense for the absurd, which was characteristic even for certain literary and artistic currents of the nineteen fifties and nineteen sixties (the group Šmidrů, Křižovnická school, Ladislav Fuks, etc...) Froissages are indisputably related even to the theme of sexuality, relationships between people, solitude, desire,... Stories are often inset into unexpected contexts and even into surprising environments, which shift into different planes. Novák sometimes connects (with the use of reproductions) his own vision with the conceptions of other artists; therefore, their effects mutually supported one another. Along these lines, the idiom is considerably enriched and expanded. This contribution rests in the alignment of meanings, in the creation of contrasts even in the symphony of thoughts and dreams form different times and places.

Ladislav Novák is represented mainly through his early experiments in the Jiří and Běla Kolář Collection, which Jiří Kolář donated to Museum Kampa – The Jan and Meda Mladek Foundation shortly before is passing. Both artists, mainly at the end of the nineteen fifties and the beginning of the nineteen sixties, exchanged their creations and regularly informed one another about their discoveries. In one of his letters, Jiří Kolár, with delicate irony, wrote, “I am sending you my new stupidity…” This is how Novák acquired so many of Kolář’s early works.

The collection of Novák’s works, which is housed in Museum Kampa, comes from two sources, from the Jan and Meda Mladek collection and from Kolář’s gift to Museum Kampa. Through these two sources the collections of his works markedly expanded in its expressive spectrum and the exhibiting of these works is for many admirers of Novák’s work a pleasant surprise.

Jiří Machalický

ObrázekJIŘÍ SOZANSKÝ: SKELETONS

The exhibition Skeletons in the Museum Kampa became a place where artifacts created in completely different political situation met and confront. One part of the exhibited works were created during 1970's and 1980's as a reaction to the communist regime. The exhibition also included works from last five years. The author of the exhibiton’s concept, David Vávra, presented Jiří Sozanský in various aspects of his artistic expression.

From June 10 - September 26, 2010

2009 Exhibitions

Václav Jíra: Machines II.

The exhibition of Václav Jíra presented his remarkable kinetic machines, which consisted of various elements recycled from various objects. Jíra combined those components in new and surprising ways, creating works that when switched on are set in motion, sometimes comical, sometimes absurd, and sometimes lyrically playful....

November 4 - February 17, 2010



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