Vanda, Veronika, Milada, Apolena, Mojmír, Božena, Slavěna, Věnceslav, Valentýn, Jiřina, Ljuba, Miloslava, Gizela, Patrik, Oldřich, Lenka, Petr, Svatopluk, Matěj, Liliana, Dorota, Alexandr, Lumír, Bedřich, Anežka

• The idea how to work with the pictures displayed at the exhibition00:00:10.701
• 00:00:10.701
• crossed my mind about seven or eight years ago,00:00:14.554
• 00:00:14.554
• when I started my studies and adopted painting medium attitude.00:00:17.949
• 00:00:17.949
• I wanted to de-construct paintings and turn them into colourful indices.00:00:22.845
• 00:00:22.845
• So I was looking for paintings which are related to geometric abstraction,00:00:29.968
• 00:00:29.968
• neoplasticism or something with clear colourful squares00:00:34.926
• 00:00:34.926
• which can be de-constructed and repainted according to colour rules.00:00:39.777
• 00:00:39.777
• For example arranging them not by the original composition00:00:46.440
• 00:00:46.440
• but arranging the colours according to00:00:50.377
• 00:00:50.377
• a specific colour contrast code or a colour shade.00:00:53.823
• 00:00:53.823
• It's very hard to get to the originals,00:00:59.523
• 00:00:59.523
• to repaint them 1:1 and make my intervention00:01:02.945
• 00:01:02.945
• or a polemic with them.00:01:08.327
• 00:01:08.327
• It's much easier to get to the paintings' reproductions.00:01:12.378
• 00:01:12.378
• When I was buying books in second-hand bookshops00:01:16.627
• 00:01:16.627
• and looking for some geometric abstraction,00:01:19.661
• 00:01:19.661
• I found out the paintings usually doubled in the books,00:01:22.268
• 00:01:22.268
• you usually find two or three of them in different books.00:01:27.007
• 00:01:27.007
• Then I found Mondrian's compositions which I cut to pieces and arranged.00:01:30.576
• 00:01:30.576
• The original can never be reproduced perfectly because00:01:41.183
• 00:01:41.183
• every reproduction looks different according to00:01:46.914
• 00:01:46.914
• the printing, quality, age and format of the book.00:01:49.020
• 00:01:49.020
• The only thing which has much to do with the original is the proportion.00:01:51.911
• 00:01:51.911
• Proportion and the size because the reproduction sizes differ.00:01:59.086
• 00:01:59.086
• From one side you can see four related pictures and00:02:05.338
• 00:02:05.338
• from the other side you see something completely different.00:02:09.946
• 00:02:09.946
• It's two authors.00:02:12.725
• 00:02:12.725
• From one side it's the modern art or neoplasticism,00:02:14.428
• 00:02:14.428
• Mondrian and Doesburg, who held a dialogue,00:02:17.494
• 00:02:17.494
• the Mondrian's world was horizontally vertical and00:02:21.983
• 00:02:21.983
• Doesburg turned this whole world by 45 degrees.00:02:25.214
• 00:02:25.214
• This painting is mentioned here as well.00:02:33.442
• 00:02:33.442
• I didn't want to say which painting it was but00:02:35.993
• 00:02:35.993
• the colours are so stigmatic that everyone can see it is Mondrian's work00:02:38.659
• 00:02:38.659
• although not exactly which composition.00:02:44.432
• 00:02:44.432
• Here I made it just linear without any colours,00:02:47.522
• 00:02:47.522
• just a linear remark on the original composition.00:02:52.141
• 00:02:52.141
• Once in a negative and then in a positive.00:02:58.462
• 00:02:58.462
• From the other side there is a dialogue I hold with a contemporary artist,00:03:04.640
• 00:03:04.640
• namely Václav Malina, a regional painter from Pilsen00:03:09.291
• 00:03:09.291
• who comes out from the same neoplasticism principles.00:03:14.813
• 00:03:14.813
• I hold a dialogue with him, the same as Mondrian and Doesburg did.00:03:19.877
• 00:03:19.877
• All Malina's paintings are related,00:03:29.869
• 00:03:29.869
• they are right-angled with acute corners,00:03:33.496
• 00:03:33.496
• neither sinusoids nor ellipses,00:03:37.569
• 00:03:37.569
• no rounded shapes.00:03:39.833
• 00:03:39.833
• I use reproductions from his catalogue,00:03:42.283
• 00:03:42.283
• which I cut to pieces to get the third dimension in there,00:03:44.399
• 00:03:44.399
• spirals and rounded shapes which he would never have there.00:03:51.539
• 00:03:51.539
• So I try to follow in the dialogue Mondrian and Doesburg had at that time00:03:57.938
• 00:03:57.938
• with a similar but present-day aesthetics.00:04:01.234
• 00:04:01.234
• It's me who holds the dialogue with the painter00:04:06.980
• 00:04:06.980
• even though he doesn't know about it because I use just his reproductions.00:04:10.240

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