Charta 77 a výtvarné umění / Charter 77 and Art

Umění / Art , 2019

Our approach to the collective synthesis: discussion with Thomas DaCosta Kaufmann on the concept of the book "Art in the Czech Lands 800–2000".

The study focuses on the themes of classical mythology in the Czech visual art with an emphasis on the period between the two World Wars. The depiction of classical myth in the work of modern Czech artists became not only a means of expressing their attitudes towards the tradition and the past, but was also a reflection of the current period's events as well as the tool of perception of themselves in a modern society. Some Czech works of art inspired by classical mythology are very interesting examples dealing with conventional topics, but rendered with modern art forms. Moreover, they are very surprising in their contexts and meanings. The study deals with selected works of art on the theme of classical mythology, whose origin was influenced by the contemporary political environment. These works of art mirror the turbulent atmosphere of the first half of the 20 th century, and show the myth in the original Czech (or more precisely Czechoslovak) context. Emil Filla, Alois Wachsm...

2016

The study focuses on the themes of classical mythology in the Czech visual art with an emphasis on the period between the two World Wars. The depiction of classical myth in the work of modern Czech artists became not only a means of expressing their attitudes towards the tradition and the past, but was also a reflection of the current period’s events as well as the tool of perception of themselves in a modern society. Some Czech works of art inspired by classical mythology are very interesting examples dealing with conventional topics, but rendered with modern art forms. Moreover, they are very surprising in their contexts and meanings. The study deals with selected works of art on the theme of classical mythology, whose origin was influenced by the contemporary political environment. These works of art mirror the turbulent atmosphere of the first half of the 20th century, and show the myth in the original Czech (or more precisely Czechoslovak) context. Emil Filla, Alois Wachsman an...

Dějiny - teorie - kritika 18/2021, č. 1, s. 130-142, 2021

The contribution explores recent conflicts concerning public monuments in the Czech context. It looks in detail at two specific cases, namely the removal of the bronze figure of Soviet Marshal Koněv in Prague Bubeneč and the erection of a copy of the Baroque Marian Column at the Old Town Square in Prague. In both cases, the root context is political: post-Communism and the social memory of the recent past in the case of Marshal Koněv, and post-secular demands from part of the Catholic Church to acquire more political influence in the case of the Marian Column. While art historical judgments have also played a key part in the debates surrounding both cases, these have been used only superficially and instrumentally: there has not been any in-depth critical discussion about these cases within the theoretical framework of art history as an academic discipline.

RESEARCH TOPIC „CENTRAL EUROPE 1945–1989“, 2016

The past is a foreign land that you can only come near to. The part of heuristics or imagination may not be overestimated, even though neither of them may claim epistemological completeness. They work best together, most naturally in the premises of a museum. Central European Art Database (CEAD), a Central European research programme of the Olomouc Museum of Art, under the auspices of which the conference was held, the proceedings of which you are now “holding in your hands”, is taking place between the side lines of this Kantian free playing field. It would not be possible without a generous support from the International Visegrad Fund and a number of partner institutions to which we express our thanks.

COMENIUS: Journal of Euro-American Civilization, 2017, Vol. 4, Nr. 1, 2017

The article analyses Ladislav Hejdánek´s (1927) concept of non-political politics (asserted and validated in Charter 77, thus assisting the Charter's incredible ability to be functional) and its possible meaning todays-in debates about the role of intellectuals, philosophers and regular citizens in politics. The fundamental characteristic of the concept is an expansion of the field regarded as political; more precisely, his concept of the nature of man as a political being resistant a) to the way power expands into the ideologically intellectual and private plane of life, and b) to the emancipation of power politics from civic life (interest politics) and intellectual life. This twofold resistance distinguishes non-political politics from power (operational) politics and from interest politics (the ideological and intellectual clashes of civic society). The position of non-political politics versus power politics and the position of the intellectual (philosopher) versus the politician is weakened by the stronger, indeed, the only irreconcilable antithesis of the true politician and the pseudo-politician. Where the activities of the pseudo-politician are concerned, the ultimate horizon of his reasoning and behaviour is his party, or even he himself. The non-political politician, on the contrary, cares for the space for the method of politics formed by the mind; he cultivates the individual and the whole of society in their education in the broadest possible (philosophical) sense. KEY WORDS nonpolitical politics-Charter 77-Hejdánek-philosophy There is a strong reluctance in some circles of our society to sacrifice energy and time on work for the Charter. Particularly regrettable is the reluctance to take on the role of spokesperson. I do understand that no one likes to get into difficulties to which they are committed by no more than a consciousness of having fulfilled their civic responsibility (and I am aware that many people will grimace at this somewhat pathetic formulation). But Charter 77 is so outstanding, such an exceptional phenomenon in our postwar history, that if that the prominent and renowned 1 The publication was supported within the project of Operational Programme Research, Development and Education (OPVK), "Centre for Ethics as Study in Human Value", registration No. CZ.02.1.01/0.0/0.0/15_ 003/0000425, co-financed by the European Regional Development Fund and the state budget of the Czech Republic.

Umjetnost slavonskog plemstva – vrhunska djela europske baštine // The Art of the Slavonian Nobility – Masterpieces of European Heritage, Najcer Sabljak, Jasminka; Lučevnjak, Silvija; Galović, Valentina (ur.). Zagreb: Galerija Klovićevi dvori, , 2021

Tekst u katalogu izložbe "Umjetnost slavonskog plemstva – vrhunska djela europske baštine" predstavlja izbor iz likovne baštine plemićkih obitelji koje su na područje današnjeg istočnog dijela Republike Hrvatske, dijelom omeđenog rijekama Dravom, Savom i Dunavom, došle nakon završetka ratova s Osmanskim Carstvom. Vladarska kuća Habsburg na taj je prostor izvan granica Vojne krajine krajem 17. i početkom 18. stoljeća dovela niz plemićkih obitelji, iz raznih područja Europe. One su imale zadaću ekonomski, društveno i politički unaprijediti područje međurječja te ga povezati s Habsburškim Carstvom. Među njima su obitelji Adamović, Cseh, Eltz, Hilleprand von Prandau, Janković Čalmanski, Janković Daruvarski, Khuen, Mihalović, Normann-Ehrenfels, Odescalchi i Pejačević, koje su ostavile snažan trag na području razvoja kulture i umjetnosti. Tekst u katalogu govori o djelima iz njihovih zbirki, koje su danas prestale postojati in situ, a pronađene su u brojnim javnim i privatnim zbirkama diljem domovine i svijeta. Rad sintetizira istraživanje teme povijesti likovnih zbirki slavonskog plemstva, a naglasak stavlja na djela štafelajnog slikarstva, koja dominiraju u zbirkama, uz nešto skulptura, grafika, arhivskog materijala, djela primijenjene umjetnosti.