Kolektoři 2 – Zdeněk a Ivo Markovi

• Zdeněk, you were born in December 18th, 1966 in Vyškov,00:00:24.089
• 00:00:24.089
• where you lived until you were seventeen.00:00:28.697
• 00:00:28.697
• There you studied at grammar school and00:00:31.181
• 00:00:31.181
• you passed your final exams in Jevíčko.00:00:33.593
• 00:00:33.593
• You were studying agroecology in Bulgaria for five years.00:00:36.350
• 00:00:36.350
• You came back to the Czech Republic in 199000:00:41.274
• 00:00:41.274
• and founded a rock group.00:00:43.973
• 00:00:43.973
• Then you studied law and after graduation in 199600:00:46.871
• 00:00:46.871
• you moved to Prague and started to work00:00:50.819
• 00:00:50.819
• as a travel business manager.00:00:53.645
• 00:00:53.645
• In 1999 you founded a private collection of contemporary art.00:00:56.857
• 00:00:56.857
• Since 2005 your brother got gradually00:01:02.331
• 00:01:02.331
• involved in your collection.00:01:05.377
• 00:01:05.377
• The collection closely co-operates with00:01:07.732
• 00:01:07.732
• the curator Marika Kupková and the artist Milan Houser.00:01:09.222
• 00:01:09.222
• In 2008 a catalogue of the whole collection was published00:01:13.422
• 00:01:13.422
• and web pages were set about.00:01:17.247
• 00:01:17.247
• Ivo, you were born in Vyškov in December 18th, 196600:01:19.870
• 00:01:19.870
• where you attended basic school and grammar school.00:01:24.845
• 00:01:24.845
• You studied stomatology at the Faculty of Medicine00:01:29.044
• 00:01:29.044
• in Olomouc where you graduated in 1990.00:01:32.041
• 00:01:32.041
• Between 1996 and00:01:35.231
• 00:01:35.231
• 00:01:35.231
• postgraduate studies of dental orthopaedics.00:01:38.561
• 00:01:38.561
• In 1999 you opened a private stomatological centre in Břeclav00:01:42.691
• 00:01:42.691
• which focuses at interdisciplinary dental care,00:01:47.660
• 00:01:47.660
• especially a collaboration of orthodontists and implantologists.00:01:51.231
• 00:01:51.231
• In 2008 you completed predoctoral studies00:01:55.058
• 00:01:55.058
• at the Faculty of Medicine in Olomouc.00:01:58.942
• 00:01:58.942
• You dissertation was appraised as the best00:02:01.652
• 00:02:01.652
• expert work at the stomatology branch in 2007.00:02:04.685
• 00:02:04.685
• You work as a lecturer at the Dental Surgery Clinic00:02:09.259
• 00:02:09.259
• of Palacký University in Olomouc00:02:12.974
• 00:02:12.974
• and as an outside lecturer00:02:14.970
• 00:02:14.970
• at the orthodontic department of VFN in Prague.00:02:16.444
• 00:02:16.444
• You are a member of the Czech Orthodontic Society,00:02:21.001
• 00:02:21.001
• European Orthodontic Society, American Orthodontic Society00:02:23.654
• 00:02:23.654
• and the World Federation of Orthodontists.00:02:28.206
• 00:02:28.206
• In 2007 you were appointed a honorary member of00:02:31.084
• 00:02:31.084
• the Czech Association of Implant Dentistry for00:02:33.820
• 00:02:33.820
• the cooperation development of orthodontics and implantology.00:02:36.583
• 00:02:36.583
• Zdenek, how did a lawyer working as a travel business manager00:02:41.734
• 00:02:41.734
• get to the concern for contemporary art?00:02:45.334
• 00:02:45.334
• Was meeting Milan Houser the main impulsion00:02:48.759
• 00:02:48.759
• or does it go any further?00:02:51.674
• 00:02:51.674
• In Bulgaria I would often go00:02:55.629
• 00:02:55.629
• to exhibitions of contemporary art.00:02:58.845
• 00:02:58.845
• The artists there were completely unfamiliar to us,00:03:02.614
• 00:03:02.614
• but there used to be a relative benevolence at that time,00:03:06.525
• 00:03:06.525
• everyone was free to do anything in00:03:11.943
• 00:03:11.943
• all the branches such as art or music.00:03:15.369
• 00:03:15.369
• Unless it was political, it wasn't strictly censored.00:03:18.495
• 00:03:18.495
• Of course meeting Milan in 1990 influenced me too.00:03:25.061
• 00:03:25.061
• At that time he had his first exhibition00:03:29.729
• 00:03:29.729
• and we started to be friends and go to exhibitions.00:03:33.398
• 00:03:33.398
• In those days he studied at the Academy of Fine Arts00:03:39.565
• 00:03:39.565
• and suddenly the idea of not only00:03:44.404
• 00:03:44.404
• watching but also collecting art crossed our minds.00:03:47.415
• 00:03:47.415
• We didn't know any collectors such as Richard Adam and the like.00:03:56.156
• 00:03:56.156
• We regarded it as mapping certain generation.00:04:01.085
• 00:04:01.085
• How did the cooperation with your brother Ivo come about?00:04:09.353
• 00:04:09.353
• Was it for practical reasons or have00:04:11.793
• 00:04:11.793
• you won his favour with your enthusiasm?00:04:14.972
• 00:04:14.972
• We didn't plan the collection to be just mine.00:04:20.790
• 00:04:20.790
• I have always had the same interests with Ivo,00:04:33.342
• 00:04:33.342
• such as music, painting and other things.00:04:37.443
• 00:04:37.443
• So it has come about naturally.00:04:41.794
• 00:04:41.794
• The curator Marika Kupková is there as well00:04:44.580
• 00:04:44.580
• because we regard it as a group,00:04:48.394
• 00:04:48.394
• not as a collection of someone it's called after.00:04:52.564
• 00:04:52.564
• It's rather a harmony of people00:04:57.140
• 00:04:57.140
• with the same attitudes to creating the collection00:05:00.114
• 00:05:00.114
• and how to map the youngest art generation.00:05:04.896
• 00:05:04.896
• So it logically came about that there00:05:11.324
• 00:05:11.324
• had to be more people involved.00:05:14.929
• 00:05:14.929
• We don't plan other people getting involved in the future00:05:16.934
• 00:05:16.934
• but all this arouse from a logical context.00:05:19.845
• 00:05:19.845
• Important is that each of us00:05:28.894
• 00:05:28.894
• is interested in a different kind of art.00:05:32.268
• 00:05:32.268
• Milan also started to work at the Academy at that time00:05:35.773
• 00:05:35.773
• and he knew many interesting young people00:05:40.042
• 00:05:40.042
• who hadn't been presented in any galleries so far.00:05:42.459
• 00:05:42.459
• The collection is called Marek but it wasn't the original intention.00:05:45.178
• 00:05:45.178
• It should have been called Breakpoint00:05:48.291
• 00:05:48.291
• as we wanted to represent work of students during their studies00:05:50.464
• 00:05:50.464
• and see whether they are able to carry on00:05:54.986
• 00:05:54.986
• with their art ambitions after graduation.00:05:58.285
• 00:05:58.285
• I liked the name Breakpoint more.00:06:00.810
• 00:06:00.810
• The original conception was to show the transformation00:06:06.328
• 00:06:06.328
• of an artist being first under someone's supervision00:06:10.265
• 00:06:10.265
• and then getting free to do anything,00:06:12.466
• 00:06:12.466
• both artistically and in real life.00:06:14.889
• 00:06:14.889
• When he leaves his home, doesn't have any money,00:06:16.900
• 00:06:16.900
• has art ambitions and the question is00:06:19.282
• 00:06:19.282
• if he's strong enough to realize them or not.00:06:21.226
• 00:06:21.226
• And also what direction he takes.00:06:23.582
• 00:06:23.582
• Now the break point is different,00:06:26.044
• 00:06:26.044
• because at that time it was a strong generation00:06:27.950
• 00:06:27.950
• and most of the artists carried on.00:06:31.304
• 00:06:31.304
• These days we choose three or four people00:06:35.417
• 00:06:35.417
• at the Academy in Brno every year,00:06:38.078
• 00:06:38.078
• but only few of them carry on.00:06:41.039
• 00:06:41.039
• When Zdeněk started his collection,00:06:44.187
• 00:06:44.187
• he was lucky, because the generation was really strong.00:06:48.430
• 00:06:48.430
• The next generation was different.00:06:53.669
• 00:06:53.669
• It's related to the fact the strength of generations00:06:57.750
• 00:06:57.750
• comes in great sinusoids, I could see it in the music,00:07:03.025
• 00:07:03.025
• one generation is strong and the other one declines.00:07:09.531
• 00:07:09.531
• It's the same both in art and music.00:07:13.439
• 00:07:13.439
• Nowadays there is nobody who would create a group00:07:16.645
• 00:07:16.645
• joined with music or anything else, street art for example...00:07:22.030
• 00:07:22.030
• The individual work can't meet great response,00:07:36.995
• 00:07:36.995
• I guess that's the problem of the Academy of Fine Arts today.00:07:43.588
• 00:07:43.588
• There aren't such groups as there used to be in past.00:07:46.769
• 00:07:46.769
• Can you tell us more about the operation of collector's group00:07:50.556
• 00:07:50.556
• you form together with Milan Houser and Marika Kupková?00:07:54.187
• 00:07:54.187
• Who holds the floor and who pays for all?00:07:59.447
• 00:07:59.447
• The impulsion comes from all of us,00:08:05.251
• 00:08:05.251
• when it was my brother, me and Milan,00:08:08.174
• 00:08:08.174
• the consensus was that two of us had to agree on00:08:14.515
• 00:08:14.515
• the art piece and then we bought it.00:08:17.760
• 00:08:17.760
• Now it has to be three of us to agree.00:08:20.053
• 00:08:20.053
• As we aim at schools, the most suggestions come from Milan.00:08:23.715
• 00:08:23.715
• Marika is a distinguished curator today so we often00:08:31.074
• 00:08:31.074
• select art at her exhibitions and then we buy what we see ourselves.00:08:34.445
• 00:08:34.445
• We haven't given up visiting studios of artists00:08:37.539
• 00:08:37.539
• presented in our collection, even it's beyond our budget.00:08:41.123
• 00:08:41.123
• We have a certain annual budget00:08:46.455
• 00:08:46.455
• we don't want to exceed.00:08:48.937
• 00:08:48.937
• That's why we buy work from students,00:08:51.429
• 00:08:51.429
• because it allows us to buy more interesting artworks00:08:54.464
• 00:08:54.464
• from the graduates and not only00:08:58.565
• 00:08:58.565
• one piece from a prominent author.00:09:00.653
• 00:09:00.653
• We want to keep this conception.00:09:03.458
• 00:09:03.458
• Three of us have to agree.00:09:06.622
• 00:09:06.622
• There is no point in buying the authors we have started with,00:09:09.494
• 00:09:09.494
• because they are mostly represented by significant gallery owners00:09:18.536
• 00:09:18.536
• and the prices are beyond our limits.00:09:24.945
• 00:09:24.945
• Our collection is permanent and not for sale,00:09:31.166
• 00:09:31.166
• it's not any art trade,00:09:36.025
• 00:09:36.025
• but we still enjoy going to the exhibitions.00:09:39.043
• 00:09:39.043
• Our conception is still the breakpoint,00:09:47.672
• 00:09:47.672
• there are new students, there are many art academies,00:09:57.362
• 00:09:57.362
• many interesting people who aren't presented anywhere.00:10:05.228
• 00:10:05.228
• So there is no point in mapping work of someone00:10:09.290
• 00:10:09.290
• who's almost fifty and then see what he creates in his sixties,00:10:14.711
• 00:10:14.711
• this is not art young any more.00:10:21.160
• 00:10:21.160
• So we are interested in the fresh ones,00:10:24.450
• 00:10:24.450
• we want to go rather down the stairs than up.00:10:27.386
• 00:10:27.386
• When we tell people about our conception,00:10:35.027
• 00:10:35.027
• they often ask whose art we buy.00:10:37.859
• 00:10:37.859
• And they always burst in laughter00:10:39.998
• 00:10:39.998
• when we say we buy art of those00:10:42.426
• 00:10:42.426
• whose work has no one bought yet.00:10:44.578
• 00:10:44.578
• Gallery owners or collectors would never understand it.00:10:48.314
• 00:10:48.314
• We want to reflect the present day00:10:52.720
• 00:10:52.720
• and the work created during this time.00:10:55.686
• 00:10:55.686
• Eighty percent of the artists never create anything else,00:10:59.288
• 00:10:59.288
• even though we thought they would,00:11:02.005
• 00:11:02.005
• because they are clever,00:11:03.633
• 00:11:03.633
• but it reflects the time and it's no use00:11:04.976
• 00:11:04.976
• focusing on work of somebody else.00:11:07.868
• 00:11:07.868
• Václav Hájek has described your collection00:11:09.372
• 00:11:09.372
• as a moving cross-section of current art production.00:11:11.868
• 00:11:11.868
• At the beginning the collection focused primarily00:11:16.045
• 00:11:16.045
• on students and fresh graduates of art schools00:11:18.101
• 00:11:18.101
• which you have already described.00:11:21.889
• 00:11:21.889
• Can you recapitulate how the collection has transformed00:11:25.501
• 00:11:25.501
• and how the conception has developed since 1999?00:11:31.224
• 00:11:31.224
• The conception logically developed between 2000 and 2005,00:11:36.733
• 00:11:36.733
• because there weren't so many galleries as today.00:11:44.904
• 00:11:44.904
• At present there are maybe too many of them,00:11:52.096
• 00:11:52.096
• every artist is being represented by someone,00:11:55.312
• 00:11:55.312
• sometimes by three or four gallerists.00:11:59.575
• 00:11:59.575
• I guess it's no good for the artists,00:12:03.516
• 00:12:03.516
• because some of the gallerists take off00:12:06.205
• 00:12:06.205
• over fifty percent from the sale and00:12:10.706
• 00:12:10.706
• they don't do much for the artist.00:12:16.000
• 00:12:16.000
• There are several exceptions of course,00:12:18.809
• 00:12:18.809
• for example Kastner and few others,00:12:20.764
• 00:12:20.764
• who really support the artist.00:12:24.061
• 00:12:24.061
• We tried for the breakpoint between school and the first stage,00:12:28.453
• 00:12:28.453
• then we quit it for conception and financial reasons,00:12:37.055
• 00:12:37.055
• because the prices escalated and we decided00:12:43.386
• 00:12:43.386
• to return to the schools.00:12:50.567
• 00:12:50.567
• The development was logical because00:12:56.823
• 00:12:56.823
• with all due respect to the Headless Rider,00:12:59.046
• 00:12:59.046
• they are almost fifty today and this isn't art young any more.00:13:07.097
• 00:13:07.097
• So we had to return back to the students and it's good,00:13:11.691
• 00:13:11.691
• because a great generation is coming.00:13:15.035
• 00:13:15.035
• It's just a question of time.00:13:18.287
• 00:13:18.287
• I enjoy going back to the old school00:13:23.843
• 00:13:23.843
• studios of Petrbok for example, it's a nice experience,00:13:28.895
• 00:13:28.895
• even we choose just one piece in three or four years,00:13:36.065
• 00:13:36.065
• but we don't give up.00:13:41.874
• 00:13:41.874
• Because it's our generation and we like the people.00:13:45.083
• 00:13:45.083
• But the collection should develop to the breakpoint,00:13:52.058
• 00:13:52.058
• which means the schools at the moment.00:13:56.821
• 00:13:56.821
• Personal bonds created during the years are very important of course,00:13:59.895
• 00:13:59.895
• but it doesn't mean we buy everything00:14:04.262
• 00:14:04.262
• the people we like have created.00:14:08.754
• 00:14:08.754
• I am attached to Jakub and Anežka Hoškovi,00:14:12.334
• 00:14:12.334
• we like the same music,00:14:18.645
• 00:14:18.645
• it's about people around Creepy Teepee Festival,00:14:22.626
• 00:14:22.626
• I like them and enjoy communicating with them.00:14:27.943
• 00:14:27.943
• This is also a specific art direction.00:14:33.463
• 00:14:33.463
• Even though this music isn't anything new, in New York it's long over,00:14:39.000
• 00:14:39.000
• but once it was very contributive00:14:45.046
• 00:14:45.046
• and thank God for Creepy Teepee.00:14:48.010
• 00:14:48.010
• Important is that our collection focuses on00:14:51.386
• 00:14:51.386
• not only painting but also video art.00:14:54.550
• 00:14:54.550
• There are not many Czech collections presenting video art.00:14:58.803
• 00:14:58.803
• We have video art represented by twenty or thirty artists.00:15:03.904
• 00:15:03.904
• It's a medium unpopular with collectors,00:15:08.353
• 00:15:08.353
• nobody collects it, because everyone can play it any time,00:15:14.282
• 00:15:14.282
• nobody has respect for booklets and so on.00:15:17.425
• 00:15:17.425
• But we concern with video art and it's interesting00:15:20.009
• 00:15:20.009
• to follow its development in the course of past ten years.00:15:22.290
• 00:15:22.290
• It belongs to one of the crucial art aspects.00:15:25.366
• 00:15:25.366
• Besides we have also photographs in our collection.00:15:28.328
• 00:15:28.328
• As for the video art, I was surprised00:15:34.689
• 00:15:34.689
• when Eva Koťátková, who is a famous artist today00:15:39.501
• 00:15:39.501
• and her work received the Jindřich Chalupecký Award,00:15:44.664
• 00:15:44.664
• we were the first ones to buy one copy of her work out of five00:15:54.693
• 00:15:54.693
• and since then nobody else has been interested.00:15:58.852
• 00:15:58.852
• Marek Ther or Michal Pěchouček would tell you about00:16:01.811
• 00:16:01.811
• the trade with video art in the Czech Republic.00:16:06.217
• 00:16:06.217
• There are two or three collectors at most.00:16:12.016
• 00:16:12.016
• Once you said in an interview that the trait00:16:18.253
• 00:16:18.253
• of your collection isn't determined00:16:22.458
• 00:16:22.458
• by a personal collecting passion00:16:24.612
• 00:16:24.612
• but you rather aim to create00:16:28.366
• 00:16:28.366
• reflection of a specific period.00:16:33.123
• 00:16:33.123
• We could say the intention is00:16:35.963
• 00:16:35.963
• rather philanthropic in some measure00:16:37.953
• 00:16:37.953
• and it partly substitutes the role of public00:16:41.073
• 00:16:41.073
• institutions in the Czech Republic.00:16:45.772
• 00:16:45.772
• What is your motivation?00:16:48.061
• 00:16:48.061
• It's hard to say,00:16:51.648
• 00:16:51.648
• it's deputization in any case as the purchases are minimal.00:16:53.307
• 00:16:53.307
• Paradoxically there are more regional galleries00:17:01.151
• 00:17:01.151
• than the big ones in cities.00:17:06.269
• 00:17:06.269
• What to do with such collection?00:17:14.942
• 00:17:14.942
• If we sold it in pieces, we would only destroy it.00:17:18.250
• 00:17:18.250
• One possibility is that someone will inherit it00:17:24.585
• 00:17:24.585
• or we can dedicate it to someone.00:17:27.618
• 00:17:27.618
• Unfortunately there isn't any institution00:17:29.512
• 00:17:29.512
• as the Guggenheim Foundations in America00:17:32.474
• 00:17:32.474
• we could donate it to.00:17:37.571
• 00:17:37.571
• So we have to wait.00:17:40.216
• 00:17:40.216
• If someone asked me now,00:17:46.083
• 00:17:46.083
• who would I hand the collection over,00:17:48.336
• 00:17:48.336
• I would be completely lost.00:17:50.779
• 00:17:50.779
• I'm glad this moment won't come earlier00:17:54.050
• 00:17:54.050
• than in twenty or thirty years,00:17:57.545
• 00:17:57.545
• as I can't really imagine who would00:18:00.834
• 00:18:00.834
• we hand it over in the Czech Republic00:18:02.568
• 00:18:02.568
• so that it remains unharmed.00:18:06.284
• 00:18:06.284
• In twenty years it won't be problem to take out00:18:08.620
• 00:18:08.620
• let's say four works that might be highly valued,00:18:14.092
• 00:18:14.092
• but the collection needs someone00:18:17.105
• 00:18:17.105
• who would take care of it as a whole.00:18:19.221
• 00:18:19.221
• Who would show not only the precious pieces00:18:21.661
• 00:18:21.661
• but also the unknown ones in a way.00:18:23.871
• 00:18:23.871
• Everything is in the catalogue today,00:18:28.772
• 00:18:28.772
• anyone can come and borrow anything for an exhibition.00:18:31.533
• 00:18:31.533
• We have an agreement with the artists their work00:18:36.181
• 00:18:36.181
• can be borrowed to exhibitions for free any time.00:18:39.924
• 00:18:39.924
• Everything is listed so everyone knows what00:18:43.405
• 00:18:43.405
• was ever included. A deterrent for me00:18:46.246
• 00:18:46.246
• is the case of Valcha collection, nobody knows where it ended,00:18:52.171
• 00:18:52.171
• who's taking care of it,00:18:55.843
• 00:18:55.843
• or how it's documented in the National Gallery.00:18:56.971
• 00:18:56.971
• I don't want to hand the collection over00:18:59.857
• 00:18:59.857
• to any gallery in the Czech Republic.00:19:02.074
• 00:19:02.074
• But this issue is not topical,00:19:04.924
• 00:19:04.924
• because in statutes of the art association we founded,00:19:07.096
• 00:19:07.096
• is specified that the collection is not for sale00:19:12.309
• 00:19:12.309
• and it's transferable only to the first generation.00:19:14.046
• 00:19:14.046
• So it's possible this situation will00:19:17.189
• 00:19:17.189
• have to be solved in fifty years, but not by us.00:19:19.135
• 00:19:19.135
• It's a philanthropic matter connected with an art concern00:19:23.093
• 00:19:23.093
• and it's a donation for young people.00:19:26.349
• 00:19:26.349
• It doesn't matter if you support sport or art.00:19:29.344
• 00:19:29.344
• An ideal concept would be a gallery00:19:33.783
• 00:19:33.783
• displaying partly the collection00:19:37.460
• 00:19:37.460
• and partly work of young artists00:19:41.483
• 00:19:41.483
• or retrospectives of the ones represented in the collection.00:19:44.821
• 00:19:44.821
• And making a lot of short-term exhibitions00:19:49.117
• 00:19:49.117
• lasting just three weeks or a month at most.00:19:51.997
• 00:19:51.997
• Optimal would be some space with a café,00:19:56.820
• 00:19:56.820
• but at the moment we are not able to find any.00:19:59.910
• 00:19:59.910
• We hold some talks about a space in Brno00:20:05.423
• 00:20:05.423
• and the concept we want to follow is clear.00:20:07.486
• 00:20:07.486
• We want the collection to be displayed and00:20:08.906
• 00:20:08.906
• not hidden in a depository.00:20:11.746
• 00:20:11.746
• We want to make retrospectives of00:20:13.902
• 00:20:13.902
• artists represented in the collection.00:20:15.777
• 00:20:15.777
• To view it a bit statistically,00:20:18.570
• 00:20:18.570
• how many art works are roughly in your collection?00:20:21.691
• 00:20:21.691
• How many artists and what mediums are presented?00:20:25.262
• 00:20:25.262
• Do you remember the first and last00:20:28.982
• 00:20:28.982
• artwork you got hold of?00:20:31.816
• 00:20:31.816
• I remember the first ones.00:20:37.216
• 00:20:37.216
• It was Tomáš Svoboda and his collages from New York00:20:39.111
• 00:20:39.111
• and the second was Roses II by Jakub Špaňhel.00:20:47.151
• 00:20:47.151
• The third one was Ján Mančuška.00:20:55.523
• 00:20:55.523
• The first version of the catalogue listed00:20:59.419
• 00:20:59.419
• two hundred artists and over 450 artworks.00:21:03.054
• 00:21:03.054
• Now it's about four hundred artists00:21:08.644
• 00:21:08.644
• and seven or eight hundred artworks.00:21:12.487
• 00:21:12.487
• The recent piece was by Ondra Kotrč,00:21:15.863
• 00:21:15.863
• a graduate from Brno00:21:17.282
• 00:21:17.282
• and it's hanging in the children room.00:21:19.979
• 00:21:19.979
• It's an airbrush on paper, quite an interesting work.00:21:22.426
• 00:21:22.426
• As for the medium representation,00:21:26.398
• 00:21:26.398
• it's mainly painting, about00:21:29.739
• 00:21:29.739
• 00:21:29.739
• five percent of sculpture as there are not many objects.00:21:36.443
• 00:21:36.443
• Nowadays there are not many interesting00:21:42.275
• 00:21:42.275
• objects to buy from young artist.00:21:44.562

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