drawing 162 výsledků

drawing
Matt Mullican
Matt Mullican’s performative lecture takes the form of a monologue that goes through various levels of consciousness and links subjective testimony with attempts to disturb systems of knowledge and create his own cosmology.
Markéta Adamcová
Markéta Adamcová's exhibition delves into the themes of mortality, generational trauma, and corporeal vulnerability. Her work highlights the importance of understanding history and family constellations as key factors in understanding our current state and behavior.
Iva Davidová, Eva Maceková
Both authors work with fictional worlds (seemingly) untouched by humans, which serve as romanticized escapes from the chaotic reality of the present. Instead of the desired contemplation, the scenes of an untouched natural world evoke an almost disturbing feeling of permanence and death.
Nataľja Abalakova, Jiří Balcar, Eva Bednářová + 57 more
Throughout his life, Chalupecký promoted and defended new artistic trends and was interested in general questions of art, especially the meaning of art in modern society. He was a defender of art in connection with life. In today's terms, we could perhaps use the term activist or engaged art. He did not believe in the purely aesthetic function of art and culture in general.
Jiří Havlíček, Pavel Ryška
We are used to reading lines of a drawing similarly to how we read physical features of a human face. From those several lines and points we manage to distinguish not only personality but also guess the state of mind it currently finds itself in. Drawn characters has become a common part of our visual environment. In them we will read testimonies about our traits and our acts that are, thanks to the character itself, freed from the weight of fatal determination.
Miroslav Barták
Miroslav Barták(*1938) graduated from a naval academy and spent a large part of the sixties on business ships as an engineer. When he could draw in his spare time, he wasn’t so much interested in the motives of exotic lands or the peculiar physiognomy of their inhabitants. He didn’t aspire to prove his skills of capturing the outside world; he was rather interested in discovering what he could tell about it in the lines of his drawings. Quite soon he found the ideal actor for his meticulously directed scenes: a male figure, whose crucial feature was an absent mouth.