Lukáš Hájek (born 1980, graduated from FaVU BRNO in the multimedia department) is an artist whose recent work investigates shifts in scale from the point of view of daily objects. In his artistic attitude and methods we find links to DIY culture, sport fishing and modelling. His sculptures (which are usually brightly coloured) take inspiration from folk art, the circus and visual communication systems. Hájek’s work is influenced mostly by his interest in folk art, DIY, sport fishing and tourism, and previously also new technologies. His more recent work is linked to the historical modernist styles of Contructivism and Minimalism; while also taking something from earlier experiments with geocaching (created together with Zdeněk Porcal). His recent objects are geometrically based, and are now more pop-art-like and exuberant, inspired by fishing lures and old Bohemian cakes. His new works mirror the concept that art is most inspiring when the creator does not think about the art. Fishing lures are functional and granny’s cakes are created with a certain adherence to aesthetic minimalism, so as to follow rules of standardisation. And as we all know, art connects with beauty only sometimes, not necessarily always. Hájek’s work takes sources from this space.

artistsLukáš Hájek
curatorsJiří Ptáček
placeŠkolská 28: Komunikační prostor
tags
castJiří Ptáček, Lukáš Hájek
cameraJan Vidlička
soundJan Vidlička
editingJan Vidlička
interviewJan Vidlička
translationEva Maršíková
published22. 1. 2011
languageČesky / English
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A show
The concept of the exhibition is based on the ideological convergence of the work of Catherine Radosa and Jaroslav Varga, which consists in revealing the physical and symbolic traces of the past. Both artists examine these relics of bygone times and eras from the perspective of collective memory and the mechanisms of its storage. A vacant lot is an empty space, a gap left by a past situation that can be filled again. The installation Colonne / Révolution captures the constant cycle of the monument in a triple projection. The period of the revolutionary Paris Commune is still a problematic period in France, similar to the period of socialism in our country: it has been and continues to be reinterpreted, tabooed, or marginalized.