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. Czech 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!
The sculpture was created as the third variant of the statue of the Reader, originally intended to be installed in front of a public library building. Paradoxically, however, already at a time when the order was long gone and no library showed interest in it. Nevertheless, I then gradually became very interested in the issue of the statue of a man immersed in the world unfolding in the book. Through the reader's statue I wanted to portray both the reader and the imaginative world of the book. I used an armchair for this purpose. The armchair is a soft and soothing wall that protects us from the pragmatic world around us allowing us to escape into the worlds of imagination and fantasy. It is a dreamy armchair, and the reader is intentionally an anonymous and symbolic figure, easily interchangeable with any reader. At the same time, the armchair adds monumentality to the statue reinforcing the significance and importance of this fragile theme. Last but not least, it is also necessary to pay tribute to the world of paper book at a time when it is threatened (and so are we!) by the aggressive world of information technology and castrated e - books.
KLECOHLAVY V and VI 1995, 2010
The first Klecohlavy were made from the riveted strip in 1987, another from the iron wire for the backyard at the Vladislav Hall at the Prague Castle exhibition in 1995. The last three of the thick logs were for Mrs. Meda Mládková to the backyard of Museum Kampa.
Human heads are a prison of monstrous stupidity. However, the cage does not prevent anything better from blowing there, and thanks to the gaps between the bars, it can also blow into other cages.
The first impulse of this realization was an intention to complement an intimate place of a private garden with a seating with sculpture. A bench in the form of a stylized woman has been created and you can nestle down with a book in her arms or sit down face to face to a close person in a confidential conversation. By being placed in the public space, the statue has gained another meaning that is firmly embedded in my work: acting as an island to inliven the street that you usually just pass through, as an opportunity for a short stop enriched with unexpected aesthetic perception, and as a means of rest.
Pieces of art have been commonplace in parks and gardens since anyone can remember. They may be a discreet accessory, an extravagant jewel, a guide or a centrepiece of the garden's design – and the main reason for its existence. An art piece and its placement in the garden can have a deeply personal meaning, or it can be the result of a meticulously focused architectural intent.
The creations of Alexandra Koláčková are immediately recognizable and her style unmistakable. And yet despite this – or maybe precisely because of this – they set the narration line of the area in motion in so many different ways... They serve as a decorative piece or a climbing frame; they can be the centre of the universe or a tiny surprise hiding under the bench... And that is why I personally value Alexandra's work so much.
Most gardens are not meant to be just observed, but rather used in active ways – their space waiting to be touched, sat on, jogged through... Everything is permitted – even welcome. The same applies to Alexandra Koláčková's sculptures. Their simple, rounded and approachable shapes as well as their larger than life size outright beg to be climbed on. This has a tremendous benefit for a garden architect like me. A garden, with everything in it, should be inviting, welcoming and open to visitors – it should encourage exploration and discovery. In case of Alexandra's sculptures, this is often literally the case, with hands or even whole bodies inviting visitors to sit, lie or rest on them. Whatever they want and whatever they can think of, be it children, their parents or their imagination.
Kateřina Pospíšilová, garden architect