The sculpture is a composition of an arc of a circle and a triangle. Both elements do not touch each other at all, but they appear to be perfectly well-balanced and harmonic. As the sculpture can open a wide sculptural space, it needs a bigger place to be presented adequately.
13.6. — 30.9.2018
The next SCULPTURE LINE festival will again introduce you to sculptures and art objects of leading home and international artists in the "open air" gallery. Sculpture Line will cross the border of the metropolis and will lead to about ten cities throughout the country this year. From 13th June to 30th September, Czech and Moravian streets, squares and other public spaces will decorate dozens of fine art works of famous and young artists from both, czech and from abroad.
The purpose of the exhibition is to enhance and enrich the public space, to offer a new look to cities and to the works of art, both for the inhabitants and for the visitors.
We invite you to the streets. Join the Line, enjoy the Line!
In my mind, music and sculpture can develop a very special relationship. Common to them are the rhythm and the emptiness, the void. This emptiness is in the music as the silence between the tones, in the sculpture it is the empty space between the forms. It is this emptiness that forms the rhythm in sculptures as well as in the music. Both types of art share also the dynamics: the change between the extremes as the loud and the quiet, the fast and the slow, or the powerful and the delicate and fragile. In my big sculpture I tried to transcript the music of the Waltz A-minor from Frederic Chopin into my sculptural language. Of course, far away from the categories of right or wrong, this is a very personal interpretation. Everyone can feel free to do his own interpretation. Listening to this particular music, first I feel the circular movement of a waltz changing its sped permanently, so I translated this circular dynamic into the composition of my sculpture. Then I tried to capture the specific changes in speed, the dynamic differences in volume and the extreme changes between mightiness and fragility. If you want, you will feel in the circular composition your own dynamics of the empty spaces between the forms as active part of this composition.
Tomáš Medek has been intensively engaged in 3D technologies over the last ten years, such as FDM Rapid Prototyping and 3D Digitization and Measurement. In other words, 3D spatial technology and 3D scanning, which enable him to create the most complex structural objects that are virtually unrealizable without these methods. The resulting works are mostly made of composite material or ABS plastic. The central theme of his present work is organic structures. The artist’s inspiration is nature, natural processes and laws, the biological structure of life and the constructive elements in the construction of organisms. Objects are multiplied, interconnected,
deformed and transformed into organic structures in search for bonds, connections and tensions. They look into the interior and uncover inner worlds, views and intersections. He gradually creates a cycle of objects that carries the working name of Fruit. Some implementations are cast into bronze (see the Capsule), although due to their complexity, their casting is a very demanding process requiring specialized technology. This creates unique and formally diverse artistic objects with perfect craftsmanship and a sophisticated concept.
Born of the material of the industrial age, Inga Aru’s Muse emerges full of grace and elegance in numerous individual parts from a large-format steel plate and presents itself to the beholder as a three-dimensional abstract female figure in all its perfection. In the spirit of the epoch of its genesis, this modern muse has a standardization and seriality. It is the contemporary appearance of a millennia-old inspirational awakener.
A hand with tightly gripped fingers and a thumb raised upward. It is a gesture generally well-known in Western culture as perceived symbol of consent. The gesture performed by the skeleton of the hand refers though to death and extinction, questioning its purely positive meaning.
In today’s society, this gesture is a mass-used social networking symbol. The presence or absence of a thumb beneath a post may lead to mental collisions and psychological traumas of all participants in the process.
After adding a new post, no matter weather it is a picture of his pet, trip experience or a political comment, user expects the deserved whirlwind of likes from his "friends". Their number is a measure of social approval and success, bringing frustration if there is not enough, blissfulness if there are a lot, making one constantly scrutinizing their social networks, whether new likes are coming, and causing anger at “friends” who have not liked the post, even though they should have. User becomes obsessed in collecting likes and publishing endless posts. In order to gain the number of likes desired, he adapts to public tastes and applies self-stylization for his best public perception. Because yesterday's like is considered a sure "death-like" he can never ease up his efforts.
In contrast to ancient times, where in the blood public performances the position of the thumb decided about life and death, in our culture he decides about the being and non-being of a social network user and becomes unwittingly the symbol of extinction of a real life in favour to his more attractive virtual form.
My work is based on “exploring man and nature” and portraying one or the other. Thinking about making them with my personal handwriting is the essence of my work. What would a bush look like if it grew according to geometric rules? Wouldn’t you like to answer this question by creating it yourself? I had it...
The sculpture Dynamikon is a part of my latest monumental work which I call "machine sculptures". I'm looking for form which would give an impression of synthesis of something biological and technical. In this particular case, it's some animalistic and very strong machine, ready for action. However, we don't know yet if this action will be useful or dangerous.
The sculpture is a part of the FAT cycle. The whole cycle is dedicated to author‘s fight against the inconspicuous and silent killer – sugar which harms him as well as millions of people around the world. The size of the tongue shows enormous craving for sweets which is even highlighted byirresistible pink colour of cakes. For the auhor, this is the way to deal with addiction and point out both the social problem and the need to fight this deadly trap.
Open: 10am - 12pm
Big heads or other heads like lightbulbs are my long-term topic. A human head is a mysterious object, it can glow with ideas, goodness and can be blocked by stupidity and aggression. By looking at them we can reflect on who we are. I've been making the heads since 1970s. Four of them (2 metres high) were showed in 2011 on the Jan Palach square, in 2013 in front of the National Library of Technology and at Landscape Festival in Prague. In 2016, some of them were destroyed by drunks in České Budějovice. Now one of them is right here. New Town Hall is famous for defenestration of the town councilors in 1419. Let's hope that nothing like that will happen again. It's all in our heads.
Open: 10am - 11pm
The sculptures were created as thirteeen separate sculptures carved into thirteen oak trunks. Every oak was at least 150 years old and it was always a fallen tree. None of them was cut down for the sculpture. To make sure that the sculptures can stay outside permanently, I cast them into bronze. Later, I cast 13 new sculptures from the forms taken from the thirteen wooden ones
and made 13 new ones. I covered the surface with a wallnut shell structure. The actual shells are embedded in the surface by a black polyester resin. I also cast these laminate castings into bronze. After installation in Brno and two years in the sculpture park in Germany, they are located at Prague Bastion.
Open: Mo - Fri: 8am -5pm
This sculpture bench is another of my contributions to my Town Armchair collection, as we named it in our studio a few years ago when installing the first colored ceramic and concrete “seating” in the public urban area. Although located on the premises of a private company, it is publicly available and offers seating to all passers-by. I enjoy communicating with the public in this friendly and kind way. Just as it is entertaining for the investor who initiated it at this location. I sometimes enjoy wild colors in interaction with the green park or with modern urban architecture, which always somehow becomes more “human” with all the colors..
The throne shows the place inside us. An imaginary pedestal, on which we can put our fantasies, desires, wishes, secret thoughts or something that we would like to say aloud or shout into the world, only we don't know how. Why the cross? The author frequently uses this symbol in his work. As he says, in his concept the cross is not just a religious symbol, but also a base point which was created by intersection of two lines. Like the expression of the two symbols Jing and Jang, Me - You, She – He, She – It etc. This sculpture was created in 2016, two years later the author inscripted three reliefs, three questions. The proper understanding of context is left upon the individuality and sensitivity of every single viewer.
Open: mo-fri 7am - 8pm, view from entrance
When we say steel, we feel the cold. Cold design, cold material, utilitarity. It is the reason why I try to give the steel sculptures warm, feminine and round shapes. To conquer the material and present it in a bright new light. Stained steel gets a velvet structure and the rain changes its colours to orange and red. That is how the sculpture Féminité was born. It is symbol of a woman – mother.
Open: 10am - 10pm
This idyllic piece is one of the series of Kovářík’s works, which recycles and transforms common daily items and objects found or unnecessary into artistic artefacts. In this case, years have passed and subsequently combined in an enigmatic hundreds of beer cans. Then, the installation was dealt with in a typical colourful way, leaving it without any further explanation of how we explain the meaning of the work.
For Dolní Břežany, a place with rich history and growing scientific and technical potential, I decided to create a sculpture that would tribute to the vitality of the village which believes in its developement and bright future. The sculpture should reflect the legacy of the village with its geometric and plastic features, characterized by lightness, light, balance and dynamics. If I want to start with the subject of technology, I see the circular shapes as the starting point. The principles of technical devices are often based on rotation around some axis or they transmit images, light or rays (such as laser). I see the circle as a symbol of functionality and dynamics that drive us forward. The sculpture can be reminiscent of wings that are about to take off. The intersection of the two circles can also symbolize the bond which is necessary whenever a group of individuals aims to build something important together.
This sculpture belongs to a group of objects focused on negative space and playing with the way the light passes through them. For this reason, it was conceived for a horizontal position (like most of my sculptures). Richard Kočí adds: “Only at the exhibition in DOX in 2016 we placed it vertically and I found out that I did not mind. The name only refers to the fact that the sculpture is complex, that it is interconnected in various ways – like love, sex and money.”