S kolegyní z FDU LS ZČU v Plzni Andreou Uhliarovou pořádáme ve čtvrtek 17. února v 17 hodin vernisáž společné výstavy v paláci Templ v Mladé Boleslavi.
Jejím cílem je vyzkoušet, jak spolu budou komunikovat polaritně vytvořené věci osobní výpovědi a digitální grafiky.

MENTAL, RUDIMENTAL

Andrea Uhliarová, Jaroslav Vančát

Městský palác Templ, Krajířova 102, Mladá Boleslav

Vernisáž ve čtvrtek 17. února v 17 hodin

Od 18. února do 19. března 2022, pořádá Městský palác Templ v Mladé Boleslavi společnou výstavu Andrey Uhliarové a Jaroslava Vančáta. Přestože jejich díla vykazují odlišná východiska i styly tvorby, spojuje je názor na umění a na vizuální tvorbu, které chápou jako jistý druh výzkumů v oblasti vizuálních znaků.

Tento výzkum je ovšem stále těžší a uplatnění jeho výsledků stále obtížnější v dnešní „době obrazové“, generující nespočet vizuálních vyjádření ve všech možných stylech.

Sami autoři jsou si vědomi, že každý z nich tak reprezentuje jen dílčí příspěvek ve spektru těchto možností a zkoumají, jak využít na této výstavě právě faktu, že jejich reálná tvůrčí východiska jsou téměř polaritní, jak ve stylu, tak i obsahu.

Výstava se tak paradoxně snaží nastolit vzájemné korelace jejich tvorby a hledat společné souvislosti, které autoři vidí v dynamizaci obrazových prvků a jejich relačním postavení při budování obrazu.

Andrea Uhliarová (*1991)

Studia:

2012-2010     Technická univerzita v Liberci, Fakulta textilní, obor Textilní a oděvní návrhářství

2013-2016     Bakalářské studium obor Malba, FDULS, ZČU Plzeň

2016-2019     Magisterské studium obor Malba, FDULS, ZČU Plzeň (Aleš Ogoun, Pavel Trnka)

V současné době asistentka ateliéru malby Fakulty designu a umění Ladislava Sutnara na ZČU Plzeň (od r. 2019)

„Snažím se prověřovat meze malby skrze rozrušení malířské plochy, jejíž samozřejmost jinak přijímáme již automaticky. Zajímá mě např., jak se dostat mimo hranice plátna, jak se při tom vyrovnat s hloubkou a vrstvami dynamického prostoru. Ze studia textilního oboru jsem si odnesla jednoduché stanovisko – plátno je jenom látka. Barva v mých obrazech nemá být zachycením povrchu, ale stopou, indexem jevů. Cílem mého snažení je odvrátit malbu od její věčnosti a trvalosti k proměně a pohybu.“

„I try to test the limits of painting by disrupting the painting surface, the obviousness of which we otherwise automatically accept. I am interested, for example, in how to get outside the boundaries of the canvas, how to deal with the depth and layers of dynamic space. From studying the textile field, I took away a simple opinion – canvas is just fabric. The color in my paintings is not meant to capture a surface, but a trace, an index of phenomena. The goal of my endeavor is to turn painting away from its eternity and permanence towards transformation and movement.“

Jaroslav Vančát (*1949)

Studia:

Absolvoval střední filmovou školu v Čimelicích (1964 – 1968), hospitoval na střední sochařské škole (1969/70), vystudoval výtvarnou výchovu (spolu s češtinou) na Filosofické fakultě Univerzity Karlovy (1968 – 1974) u Zdeňka Sýkory a Miroslava Lamače.

V současné době učí na Fakultě humanitních studií UK a na VŠUP v Praze, na Fakultě designu a umění Ladislava Sutnara ZČU v Plzni.

„Svoji nynější výtvarnou tvorbu pojímám jako studium nadpočetného množství obrazových prvků v jejich vzájemných relacích. Své obrazy chápu jako vizuální analogii jevů, s nimiž se v současnosti setkáváme stále častěji a které přinášejí nezbytnost představit si složitost organizací velkého množství lidí, jejich pracovních a komunikačních procesů, obdobně vazeb buněk, znakových systémů, apod., jejich interakcí a proměn jejich struktur. Počítačové zpracování mi umožňuje sledovat jak fáze proměn této strukturace, tak také poskytnout divákovi představy pro vlastní chápání těchto dějů.“

„I see my current art work as a study of an excessive amount of visual elements in their mutual relationships. I understand my paintings as visual analogies of phenomena that we encounter more and more often nowadays and that bring the necessity to imagine the complexity of the organizations of a large number of people, their work and communication processes, similarly to the bonds of cells, sign systems, etc., their interactions and changes in their structures . Computer processing allows me to follow both the phases of changes in this structuring and also to provide the viewer with ideas for their own understanding of these events.“

Together with my colleague from FDU LS University of West Bohemia in Pilsen, Andrea Uhliarová, we are organizing the opening of a joint exhibition at the Templ Palace in Mladá Boleslav on Thursday, February 17 at 5 pm.
Her goal is to test how the polarity of personal statement and digital graphics will communicate with each other..

Jaroslav Vančát (born on 27^th February,1949 in Benešov near Prague)

is an artist, visual media theorist and associate professor. He graduated from the Secondary Technical School of Film in Čimelice (1964 – 68). He also graduated from the Faculty of Arts and Philosophy, Charles University in Prague in Art (and Czech) under Miroslav Lamač and Zdeněk Sykora (1968 – 1974). He received his postgraduate PhDr in Art Criticism at the Department of Aesthetics from the same faculty (1981 – 83) and doctorate PhD from the Department of Media Studies at the Faculty of Social Sciences, Charles University (2007). Since 2010 he has been an Associate Professor at the Faculty of Humanities, Charles University, where he co-created the concept of the Creative Module (externally since 1992, internally since 1997), externally at the Academy of Arts, Architecture and Design in Prague, at the Academy of Fine Arts in Prague, at the Film and TV School of the Academy of Performing Arts in Prague and at the Ladislav Sutnar Faculty of Design and Art, the University of West Bohemia in Pilsen. He is the author of two monographs – Creating Visual Imaging (Karolinum 2000) and The Development of Image from Object to Interactivity (Karolinum 2009) as well as many art-theoretical and art-pedagogical texts. He has also been the curator of a number of exhibitions, such as “Czech Electronic Picture” in Mánes in 1994, “World as a Structure, Structure as a Picture” in the Klatovy / Klenová Gallery in 2003. He created one of the first Czech video installations, “Dialogues” (1988).

Under the influence of his lecturer Zdeněk Sýkora, he has been working on the depiction of an excess of pictorial elements in his art since the 1980s. He considers this topical today, as much as a portrait, landscape or still life was topical in history, in order to clarify a new attitude to reality under the influence of contemporary impulses. He understands the images he creates depict reality – they can prepare us to perceive the complex compositions of relationships and contexts into which we are increasingly introduced in the arrangement of language and communication and help us understand the complex processes in new technologies, biology, anthropology and sociology. Curator Jan Van Woensel believes the artist is attempting in his paintings to portray such phenomena as the connectivity of pixels, their coordination and the resulting clusters, as well as the structural levels of the image, metastructures and their transformations, leading to interactivity as a new attitude to the image, alongside the traditional “realistic” representation and the already established classical non-figurative art. Unlike Zdeněk Sýkora, for whom the computer became an optional support tool, Vančát’s creations are no longer possible without the use of digital image media.

Metastructureal_5Pt. Digital print on canvas, 80x80cm, 2019

,
Metastructureal002A, Digital print on canvas, 80×80 cm, 2018

MetastructurealD004 Digital print on canvas, 80×80 cm, 2018

MetastructurealD002 Digital print on canvas, 80×80 cm, 2018

  
SalcmanIV. Digital print on canvas, 80×80 cm, 2015

The exhibition by Jaroslav Vančát (born in Benešov on 27 February 1949) at the Benešov Museum of Art and Design presents his contemporary work. Since the 1980s, the artist has been dealing with the depiction of the abundance of figurative elements. He considers this topic to be necessary, as when, under the influence of current impulses, a portrait, landscape or still life arose in art history to clarify a new attitude to reality. He understands the images he creates as well as in some way realistic – they can prepare us to perceive the complex compositions of relationships and contexts in which we are increasingly introduced in the arrangement of language and communication, understanding the complex processes in new technologies, computer science, biology, anthropology , sociology.

Výstava Jaroslava Vančáta (nar. v Benešově 27. 2. 1949) v Muzeu umění a designu Benešov představuje jeho současnou tvorbu. Autor se ve své výtvarné tvorbě od osmdesátých let zabývá zobrazením vztahů nadpočetného množství obrazových prvků. Toto téma považuje za potřebné podobně, jako když pod vlivem aktuálních podnětů vznikly v historii umění k objasnění nového postoje ke skutečnosti portrét, krajina či zátiší. Obrazy, které vytváří, chápe tak také jako jistým způsobem realistické – mohou nás připravit na vnímání složitých skladeb vztahů a souvislostí, do nichž jsme stále vice uváděni v uspořádání jazyka a komunikace, porozumění složitým procesům v nových technologiích, v informatice, v biologii, antropologii, sociologii.

K výstavě byl vydán tento katalog: Benešov – proč maluji

IMAGESTRUCTURE / Jaroslav Vančát

Beginning his career in the 1960’s, Vito Acconci’s (1940 – 2017) approach to poetry was spatial. He described the blank page as a space for action that changes irreversibly with the introduction of the first word. The continuously complexifying spatial and conceptual dynamics intensify each time the poet ads a word or punctuation. While none of them can be divorced from a set of connotations of their own, their relational situation is identified by interconnectivity and hyper-complexity. According to Acconci the daedal and analogue process of spatial writing inspired a then up-and-coming generation of artists engaged in computational creativity. Crowning the zeitgeist of technological optimism of that decade, the London-based exhibitions “Ideographs” (1962, Reid Gallery) and “Cybernetic Serendipity” (1968, ICA) revolutionized the art world. Alongside the drawing machines by Desmond Paul Henry, the displays included pioneering works of algorithm art, cybernetic sculptures, early artificial intelligence machines that could write poetry, computer graphics produced through oscilloscopes, works of biomorphism and behavior-based robotics. In this first generation of computer art, programmers became artists and artists became programmers to experiment with the computer’s creative possibilities. Among these revolutionaries was the Czechoslovak artist Zdeněk Sýkora (1920 – 2011). Throughout his life and career Sýkora was dedicated to the exploration of what he described as the “method of controlled randomness”. Traditionally, in the process of art making decisions arise from combined emotional and rational human sources; taste, experience, control, impulse, experimentation, self-challenge, self-imposed rules, order, trance (…). In 1964 in collaboration with mathematician Jaroslav Blažek, Sýkora introduced the computer as his prefered conductor for leading the idea to the image. Here, he intended to exhaust all possible combinations of relative positions of pictorial elements according to computer-programmed rules that go beyond the visionary capacity of the human brain. “I am standing in an open field; all directions are open; the light and wind are coming in from all sides,” the artist once said in an interview; metaphorically refering to how (his) art is not confined by the edge of the painting, but continues in all directions. Zdeněk Sýkora’s for that time highly remarkable approach to painting corresponds to Vito Acconci’s spatial poetry.

Artist and theoretician Jaroslav Vančát (1949) was a student of Zdeněk Sýkora at the Faculty of Philosophy of Charles University in Prague between 1968 and 1974. He witnessed the tail end of the aforementioned 1960’s computer-art wave and gained influential insight into this era through the first hand experiences of his mentor. Jaroslav Vančát’s 2019 solo exhibition “IMAGESTRUCTURE” at Galerie Ladislava Sutnara in Plzeň displays a selection of fifteen new prints of digitally produced paintings, an interactive installation that allows the visitor to create his own painting on-site, and a remake of an in 1997 first staged mutational performance titled “Structural Mandala”. Vančát’s analytical approach to the work of art, as well as to the process of the making of art is acknowledgeable. In a self-reflective introductory text the artist remarks that “unlike Sýkora, for whom the computer was an optional supporting tool to create art, my practice is impossible without this tool”. Although this observation is undoubtedly relatable to his digital and interactive non-statical paintings, “IMAGESTRUCTURE” surprises the visitor by the restaged performance’s physicality and the forming of the temporary community that it ultimately provokes. The performance can be best described as an externalized, physical and live translation of a computer program that follows a set of rules that affect the participants in their behavior. These rules imitate preprogrammed algorithms. Keeping the confined space of such proposed algorithm in mind, the participants in this performance are to a certain degree given artistic freedom and are granted with shared authorship. In other artworks, tangible tension between artistic control and release can be recognized. “IMAGESTRUCTURE” displays mounted prints of digital images that due to the virtually inexhaustible nature of algorithmic computational strategies appear as residues of a process. These works enter the discourse of art differently than, for instance, the displayed interactive installation that allows the exhibition goer to create and print his own digital painting in the gallery. The interacting person becomes an unprescribed and uninfluenced generator of equally important images; hierarchy is exiled. Here, both the demystification and the democratization of the process of art making within the prewritten matrix of the computer program are remarkable inclusive qualities. The artist’s grass roots approach to digital art is in some way nostalgic and announces the dynamics of relational aesthetics, interconnectivity and social change, as well as, albeit to a lesser degree, the surrendering of the author’s position as the sole protagonist to a shared socio-technological experience as a form of meta-transition.

The exhibition “IMAGESTRUCTURE” sheds insightful light on Jaroslav Vančát’s career as an artist and theoretician who has been committed to the exploration of the boundaries of interactive and digital art for four decades. We ambition the exhibition to be a place for debate through its apparent vicissitude that roams free within the predescribed set of rules. Via strategies of inclusion we ultimately create a shared virtual memory of the artwork of Jaroslav Vančát; one that is non-programmable and unrestrainable.

Jan Van Woensel, 2019  / Curator of Galerie Ladislava Sutnara

7.února byla zahájena výstava Jaroslava Vančáta ImageStructure v galerii Ladislava Sutnara Fakulty designu a umění v Plzni. Obsahovala tisky v programu MetaSttructure, interaktivní aplikaci s tiskárnou, kde si návštěvníci mohli vytisknout svůj výtvor, zpracovaný na stejnojmenném programu. Dále bylo na výstavě prezentováno revival performance Struturální mandala, představená poprvé v roce 1997 na výstavě Jitro kouzelníků, ve Veletržním paláci Národní galerie v Praze (interaktivní práce se studenty FHS UK v Praze). Kurátorem výstavy byl Jan Van Woensel. Výstava skončila 10. března.

Děkuji studentům, kteří měli podíl na performance.

Nějaké fotografie ze zahájení zde