KDYŽ JSEM BYL MALEJ, HRÁL JSEM SI S HOLKAMA

• Artyčok presents00:00:01.466
• 00:00:01.466
• Exhibition of Jiří Kovanda WHEN I WAS LITTLE, I USED TO PLAY WITH GIRLS00:00:03.812
• 00:00:03.812
• We said that this exhibition has a beginning00:00:08.364
• 00:00:08.364
• and that we'll start at the beginning.00:00:13.641
• 00:00:13.641
• I'm not sure if there is a beginning and an end.00:00:16.571
• 00:00:16.571
• There is no chronological order,00:00:20.803
• 00:00:20.803
• there are no units00:00:25.562
• 00:00:25.562
• that would be based00:00:29.590
• 00:00:29.590
• on anything else than a certain feeling.00:00:36.950
• 00:00:36.950
• In some rooms,00:00:42.757
• 00:00:42.757
• there is a certain special atmosphere00:00:44.991
• 00:00:44.991
• or whatever you want to call it,00:00:47.687
• 00:00:47.687
• but there is no beginning and end00:00:51.419
• 00:00:51.419
• and no chronological connection.00:00:57.033
• 00:00:57.033
• Everything has been mixed together.00:01:01.313
• 00:01:01.313
• As you must surely know,00:01:05.902
• 00:01:05.902
• there are also many works by female artists00:01:08.735
• 00:01:08.735
• who are guests at this exhibition,00:01:12.443
• 00:01:12.443
• and we have decided to mix their works00:01:15.033
• 00:01:15.033
• with the rest, without any separation00:01:18.676
• 00:01:18.676
• from my own works.00:01:21.929
• 00:01:21.929
• The genesis of the exhibition00:01:25.047
• 00:01:25.047
• has been quite long and difficult.00:01:28.454
• 00:01:28.454
• This is the result.00:01:31.906
• 00:01:31.906
• All artworks I have ever done00:01:36.881
• 00:01:36.881
• are completely intuitive,00:01:41.910
• 00:01:41.910
• not based on any kind of reasoning00:01:44.290
• 00:01:44.290
• or a path to follow.00:01:47.734
• 00:01:47.734
• I don't try to find solutions to problems.00:01:50.895
• 00:01:50.895
• My works draw from immediate ideas00:01:55.410
• 00:01:55.410
• that occur to me and I note them00:01:58.474
• 00:01:58.474
• or sketch them to work on them later.00:02:01.428
• 00:02:01.428
• This is the way I work.00:02:05.566
• 00:02:05.566
• Very often I even forget00:02:08.113
• 00:02:08.113
• the exact moment when an idea was born.00:02:11.170
• 00:02:11.170
• No doubt, there is also a connection00:02:16.861
• 00:02:16.861
• with my older works,00:02:20.249
• 00:02:20.249
• like some performances from the 70's,00:02:22.646
• 00:02:22.646
• that were also dealing with relationships00:02:26.801
• 00:02:26.801
• between individuals,00:02:31.589
• 00:02:31.589
• between an individual and the crowd,00:02:34.348
• 00:02:34.348
• between strangers,00:02:39.741
• 00:02:39.741
• that is relationships and contacts00:02:43.784
• 00:02:43.784
• born from sharing a common space.00:02:47.589
• 00:02:47.589
• I'd like to ask you one more thing.00:02:53.081
• 00:02:53.081
• When you say your work is intuitive,00:02:55.832
• 00:02:55.832
• does it mean that you have to realize00:03:00.133
• 00:03:00.133
• your ideas immediately?00:03:04.118
• 00:03:04.118
• My experience is that some ideas00:03:08.914
• 00:03:08.914
• can fade over time00:03:12.009
• 00:03:12.009
• or move to a different context.00:03:14.981
• 00:03:14.981
• Well, I don't have this sort of problems.00:03:20.119
• 00:03:20.119
• I think that when an idea is born,00:03:23.498
• 00:03:23.498
• there's no need to realize it immediately.00:03:30.436
• 00:03:30.436
• On the contrary, it can take quite a long time.00:03:33.848
• 00:03:33.848
• The act of carrying it out00:03:37.372
• 00:03:37.372
• is not the moment where the work is created.00:03:40.315
• 00:03:40.315
• It was created already when I did00:03:45.155
• 00:03:45.155
• the first sketch.00:03:47.993
• 00:03:47.993
• Of course, what happens after00:03:49.985
• 00:03:49.985
• can also surprise me in a way,00:03:52.871
• 00:03:52.871
• it is also interesting.00:03:55.614
• 00:03:55.614
• I think these works are somehow different00:04:01.561
• 00:04:01.561
• from traditional paintings00:04:05.101
• 00:04:05.101
• that require a special state of mind.00:04:08.799
• 00:04:08.799
• This is not the case.00:04:12.902
• 00:04:12.902
• Even my older works00:04:17.566
• 00:04:17.566
• were about crossing some borders,00:04:21.245
• 00:04:21.245
• which was not always pleasant,00:04:24.554
• 00:04:24.554
• both for me and other people.00:04:27.272
• 00:04:27.272
• But you can do this anytime.00:04:31.579
• 00:04:31.579
• When doing a painting,00:04:37.579
• 00:04:37.579
• you have to be in a certain state of mind00:04:39.864
• 00:04:39.864
• to be successful.00:04:43.173
• 00:04:43.173
• But here, you don't need anything00:04:45.379
• 00:04:45.379
• to cross the borders.00:04:47.806
• 00:04:47.806
• Although I have to admit00:04:50.430
• 00:04:50.430
• that on two occasions,00:04:53.899
• 00:04:53.899
• I was asked to repeat the performance00:04:56.514
• 00:04:56.514
• and I did it, it was possible,00:05:00.618
• 00:05:00.618
• but for me, something was missing.00:05:03.382
• 00:05:03.382
• I think people who saw it for the first time00:05:07.414
• 00:05:07.414
• couldn't have noticed it, but I did.00:05:10.950
• 00:05:10.950
• I missed the thing I had found interesting00:05:15.007
• 00:05:15.007
• for the first time00:05:18.154
• 00:05:18.154
• because I already knew what to expect.00:05:21.110
• 00:05:21.110
• Would you be able00:05:26.428
• 00:05:26.428
• to redo the performances nowadays,00:05:30.017
• 00:05:30.017
• to reuse this format?00:05:34.501
• 00:05:34.501
• Have you felt compelled to do this?00:05:41.635
• 00:05:41.635
• Well, it's hard to say.00:05:44.920
• 00:05:44.920
• You ask me whether I would do00:05:55.329
• 00:05:55.329
• some new performances now,00:05:57.842
• 00:05:57.842
• if the performances from the 70's didn't arouse00:06:00.583
• 00:06:00.583
• so much interest nowadays, right?00:06:04.201
• 00:06:04.201
• I don't know, I might.00:06:06.975
• 00:06:06.975
• So you're still interested in it,00:06:11.386
• 00:06:11.386
• you still think about it?00:06:14.402
• 00:06:14.402
• Yes. Although the performances00:06:17.035
• 00:06:17.035
• are quite scarce now,00:06:20.544
• 00:06:20.544
• they are only designed for particular occasions.00:06:24.169
• 00:06:24.169
• This is the difference: Now I only do it00:06:28.729
• 00:06:28.729
• for special occasions00:06:32.272
• 00:06:32.272
• and it is always set in the context of art,00:06:35.956
• 00:06:35.956
• in a gallery and so on.00:06:41.775
• 00:06:41.775
• This is different compared to the 70's,00:06:44.249
• 00:06:44.249
• due to the fact that it wasn't considered00:06:47.620
• 00:06:47.620
• normal in the 70's.00:06:50.871
• 00:06:50.871
• If the political situation were different,00:06:53.104
• 00:06:53.104
• the context wouldn't be the same.00:06:56.276
• 00:06:56.276
• It was a way out of the misery,00:06:59.092
• 00:06:59.092
• taking place in basements and so on.00:07:01.433
• 00:07:01.433
• There was no other way.00:07:04.244
• 00:07:04.244
• The older performances were based00:07:07.332
• 00:07:07.332
• on body art, right?00:07:11.849
• 00:07:11.849
• According to your colleagues Štembera, Mlčoch00:07:18.469
• 00:07:18.469
• and Miler, there was a strong influence00:07:22.406
• 00:07:22.406
• of zen and other Eastern philosophies,00:07:25.491
• 00:07:25.491
• quite popular at the time.00:07:29.471
• 00:07:29.471
• But today... Is it still there?00:07:33.016
• 00:07:33.016
• As for traditional body art,00:07:41.094
• 00:07:41.094
• it has never been my thing.00:07:45.088
• 00:07:45.088
• Of course, I liked works00:07:49.732
• 00:07:49.732
• of people like Chris Burden,00:07:51.629
• 00:07:51.629
• an important artist for me.00:07:54.415
• 00:07:54.415
• However, I didn't really use this form.00:07:57.955
• 00:07:57.955
• I was more interested in certain situations,00:08:03.460
• 00:08:03.460
• as I said a moment ago,00:08:08.479
• 00:08:08.479
• situations people can get in,00:08:11.148
• 00:08:11.148
• not only connected with the corporeality,00:08:14.654
• 00:08:14.654
• such as in Štembera's work.00:08:19.590
• 00:08:19.590
• For me, the closest person of the three00:08:22.339
• 00:08:22.339
• was Karel Miler who, like me,00:08:25.773
• 00:08:25.773
• didn't do much body art.00:08:28.173
• 00:08:28.173
• As for zen,00:08:30.337
• 00:08:30.337
• it's true that at the time00:08:32.612
• 00:08:32.612
• it was a big theme for us.00:08:35.661
• 00:08:35.661
• But I didn't practise it,00:08:38.228
• 00:08:38.228
• I only read some books.00:08:40.854
• 00:08:40.854
• This philosophy surely had an influence on me,00:08:45.619
• 00:08:45.619
• the whole zen way of thinking.00:08:50.952
• 00:08:50.952
• I use quite heterogenous forms,00:08:56.229
• 00:08:56.229
• like drawings, paintings, prints,00:09:00.867
• 00:09:00.867
• performances, objects...00:09:04.740
• 00:09:04.740
• But I still think there is something00:09:09.888
• 00:09:09.888
• that is present in all my works,00:09:16.443
• 00:09:16.443
• a certain unifying element or elements.00:09:19.566
• 00:09:19.566
• An important connection consists00:09:25.776
• 00:09:25.776
• in recycling everything I work with.00:09:32.017
• 00:09:32.017
• Nothing is new,00:09:39.646
• 00:09:39.646
• nothing is my invention,00:09:42.698
• 00:09:42.698
• everything is reused.00:09:45.095
• 00:09:45.095
• As for the paintings, for instance,00:09:48.995
• 00:09:48.995
• every theme comes from a source00:09:53.738
• 00:09:53.738
• and I only change the circumstances00:09:58.364
• 00:09:58.364
• and put it into a new context.00:10:02.017
• 00:10:02.017
• This is my way of creating meaning.00:10:09.976
• 00:10:09.976
• It's not painting as such,00:10:14.156
• 00:10:14.156
• the means of expression doesn't consist00:10:17.861
• 00:10:17.861
• in painting.00:10:21.265
• 00:10:21.265
• Over there there is some color running down,00:10:23.296
• 00:10:23.296
• which might remind you of a means of expression,00:10:26.694
• 00:10:26.694
• but in fact it is not,00:10:30.315
• 00:10:30.315
• it is just one use of a certain language.00:10:32.422
• 00:10:32.422
• The same applies to the wooden objects.00:10:39.795
• 00:10:39.795
• The material has been already used,00:10:45.075
• 00:10:45.075
• I only found it and put it into a new context00:10:48.410
• 00:10:48.410
• and placed it in a different environment.00:10:52.307
• 00:10:52.307
• From this results the meaning of the works.00:10:58.909
• 00:10:58.909
• Therefore, although the works look00:11:07.492
• 00:11:07.492
• very different from each other,00:11:11.068
• 00:11:11.068
• the actual difference is not so significant.00:11:15.462
• 00:11:15.462
• For me it is essential00:11:20.944
• 00:11:20.944
• to work only with what is available.00:11:27.691
• 00:11:27.691
• For me it is essential00:11:37.084
• 00:11:37.084
• to work only with what is available,00:11:43.774
• 00:11:43.774
• with things that are not hard to get.00:11:49.904
• 00:11:49.904
• I only do what I know how to do,00:11:54.585
• 00:11:54.585
• what I don't have to learn,00:11:56.865
• 00:11:56.865
• what I can do immediately.00:12:00.209
• 00:12:00.209
• From the point of view of crafts,00:12:06.720
• 00:12:06.720
• my objects have always been quite primitive.00:12:12.056
• 00:12:12.056
• For me it is important to create the object00:12:19.224
• 00:12:19.224
• and to create it from things00:12:25.754
• 00:12:25.754
• that are available at the moment.00:12:29.643
• 00:12:29.643
• I think this is important in general.00:12:36.589
• 00:12:36.589
• One should be able00:12:40.708
• 00:12:40.708
• to build on what is available.00:12:44.197
• 00:12:44.197
• It goes around the room.00:12:49.543
• 00:12:49.543
• The beginning is close to conceptual art.00:12:52.116
• 00:12:52.116
• And these are the events from the 70's.00:13:00.085
• 00:13:00.085
• Next come the installations as I called them then.00:13:04.135
• 00:13:04.135
• Then it continues in a chronological order,00:13:12.947
• 00:13:12.947
• here you can see some exhibitions,00:13:16.509
• 00:13:16.509
• the last two photos are from Brno,00:13:19.006
• 00:13:19.006
• from the Dům pánů z Kunštátu gallery.00:13:22.977
• 00:13:22.977
• Then come these objects-installations00:13:31.074
• 00:13:31.074
• and performances I have done recently,00:13:34.507
• 00:13:34.507
• that one is from the end of last year.00:13:38.776
• 00:13:38.776
• Who took pictures of those events?00:13:44.706
• 00:13:44.706
• Some photographers you know?00:13:49.265
• 00:13:49.265
• You mean the performances?00:13:52.255
• 00:13:52.255
• They were all captured00:13:54.593
• 00:13:54.593
• by a friend of mine00:13:56.753
• 00:13:56.753
• who is a photographer.00:13:59.403
• 00:13:59.403
• I think the photos look quite good.00:14:02.763
• 00:14:02.763
• His name is Pavel Tuč.00:14:08.382
• 00:14:08.382
• Nowadays, he doesn't do art anymore.00:14:11.726
• 00:14:11.726
• I would always ask him to document00:14:15.651
• 00:14:15.651
• one of my performances00:14:20.190
• 00:14:20.190
• and he roughly knew what was going to happen.00:14:23.142
• 00:14:23.142
• However, I never gave him00:14:26.883
• 00:14:26.883
• any particular instructions for the photos,00:14:29.800
• 00:14:29.800
• I just wanted him to capture the situation.00:14:33.898
• 00:14:33.898
• I would like to ask about the relationship00:14:40.314
• 00:14:40.314
• between the paintings and the performances,00:14:43.884
• 00:14:43.884
• how the two intertwined in your life.00:14:48.005
• 00:14:48.005
• Were these preoccupations parallel00:14:52.221
• 00:14:52.221
• or did you have periods dedicated00:14:55.761
• 00:14:55.761
• only to painting, for example?00:14:58.488
• 00:14:58.488
• No, they followed one after another.00:15:00.770
• 00:15:00.770
• Of course, when I did performances,00:15:03.393
• 00:15:03.393
• I used to sketch some drawings.00:15:06.259
• 00:15:06.259
• But no paintings, no objects,00:15:08.709
• 00:15:08.709
• just very simple drawings.00:15:11.227
• 00:15:11.227
• The main thing is00:15:18.789
• 00:15:18.789
• that there is no relation whatsoever00:15:20.386
• 00:15:20.386
• between the performances and the paintings,00:15:23.422
• 00:15:23.422
• other than the implicit connection00:15:27.013
• 00:15:27.013
• I mentioned earlier.00:15:30.409
• 00:15:30.409
• Otherwise, the form of a performance00:15:33.016
• 00:15:33.016
• has nothing to do with paintings.00:15:36.350
• 00:15:36.350
• They belong to different periods for me.00:15:39.312
• 00:15:39.312
• The particular method of rendering my ideas00:15:42.870
• 00:15:42.870
• depends on what I find the most expressive00:15:46.759
• 00:15:46.759
• at the moment.00:15:50.568
• 00:15:50.568
• No two languages have the same meaning.00:15:57.739
• 00:15:57.739
• In different periods,00:16:06.274
• 00:16:06.274
• there is emphasis on different aspects.00:16:08.625
• 00:16:08.625
• I think it's good to use things00:16:12.290
• 00:16:12.290
• that are the most suitable for the time.00:16:16.524
• 00:16:16.524
• But I don't think00:16:20.908
• 00:16:20.908
• this could be the right recipe00:16:23.838
• 00:16:23.838
• for everyone, it's individual.00:16:26.626
• 00:16:26.626
• Did you start as a painter?00:16:30.248
• 00:16:30.248
• At the beginning, I did drawings00:16:33.963
• 00:16:33.963
• and collages.00:16:36.921
• 00:16:36.921
• Camera Editing00:16:38.931

Zde se můžete vyjádřit. (*nutné)