glass studioQuarterly publication of international glass art spring 2004

Anna Matoušková and Ilja Bílek Aleš Vašíček Javier Gómez Marian Volráb editorial 01

Dear Readers! V·ûenÌ a milÌ Ëten·¯i, We meet over another issue of the journal studioglass, sch·zÌme se nad dalöÌm ËÌslem Ëasopisu studioglass and just like Nature is waking up with many colours after a tak, jako se p¯Ìroda pest¯e probouzÌ po öedivÈ zimÏ i my

spring 04 the grey winter, we want the journal to be multicoloured in chceme, aby n·ö Ëasopis byl pestr˝ ve svÈ nabÌdce toho, its offer of interesting information about what is going on co se dÏje zajÌmavÈho na skl·¯skÈ scÈnÏ (a nejen tÈ). Na at the glass scene (and not only there). We can read on its jeho str·nk·ch si p¯eËteme s ËÌm se v lond˝nskÈ The pages about how Anna Matoušková and Ilja Bílek have Studio Glass Gallery p¯edstavili Anna Matouökov· s Iljou been presented by The Studio Glass Gallery in London; in BÌlkem, v rozhovoru s Medou Ml·dkovou se vr·tÌme the interview with Meda Mládková we will return to the k oûivenÌ Sovov˝ch ml˝n˘ a dozvÌme se nÏco o jejÌm revival of Sova Mill and learn something about her vztahu ke sklu, rubrika Profil n·m v kr·tkosti p¯iblÌûÌ relationship to glass; the Profile column will outline the oblouk, po kterÈm se ubÌr· tvorba Aleöe VaöÌËka a na path of the art by Aleš Vašíček; and we will be invited by letm˝ pohled na historii i souËasnost öpanÏlskÈho skla n·s Javier Gómez to take a short glance at the historic and pozve Javier GÛmez. A to n·s jeötÏ Ëek· nahlÈdnutÌ do contemporary Spanish glass. We will also have a chance svÏta objekt˘ Mariana Volr·ba, zpr·va o zmizenÌ, to see the world of Marian Volráb's artefacts; read a report Ë·steËnÈm znovunalezenÌ a rekonstrukci nadËasovÈ about the disappearance, partial rediscovery and plastiky RenÈ RoubÌËka z EXPO 58 v Bruselu, obrazov· reconstruction of the timeless sculpture by René Roubíček report·û z lond˝nskÈho veletrhu Collect a dalöÌ zajÌmavosti. from EXPO ’58 in Brussels; as well as savour the pictorial V tÏchto dnech mne (a urËitÏ nejen mne) zaujala reportage from the London fair “Collect” and other praûsk· n·vötÏva slavnÈho americkÈho architekta exciting things. Daniela Libeskinda (proslavenÈho nap¯Ìklad realizacÌ In these days my attention (and certainly not just mine) éidovskÈho muzea v BerlÌnÏ), kter˝ zde p¯edstavil was captured by the visit of the famous American vizu·lnÏ zajÌmav˝ projekt pal·ce, kter˝ by mÏl slouûit architect Daniel Libeskind in Prague (known, for example, jako muzeum Salvatora DalÌho. Kdyû pominu nelogiËnost for his Jewish Museum in Berlin), who presented here spojenÌ DalÌ ñ Praha, tak by jistÏ bylo zajÌmavÈ mÌt a visually attractive project of a palace which was to serve v naöem hlavnÌm mÏstÏ stavbu od svÏtozn·mÈho as a Salvator Dalí Museum. Putting aside the lack of logic architekta (konec konc˘ uû zde m·me nap¯Ìklad Gehryho in the Dalí – Prague connection, it would be no doubt nebo Nouvela). Kdyby tak nÏkoho napadlo, ûe takov˝ wonderful to have in our capital city a building by a world- st·nek by si bezesporu zaslouûilo ËeskÈ modernÌ sklo. renown architect (after all we already have Gehry and To bych n·m p¯·la. Ale nechme se p¯ekvapit. Nouvel). If only someone thought of making such a sanctuary for modern Czech glass! I wish us that. But perhaps we will be pleasantly surprised.

Olga Z·miöov·

2 in the news Private view COLLECT 2004 Private view Rubikon

4 studio glass gallery Anna Matouökov· and Ilja BÌlek

8 interview 14 profile Meda Ml·dkov· Aleö VaöÌËek

18 review Javier GÛmez

ConnaughtStreet Quarterly publication of international glass art 22 portrait

63 Marian Volr·b

26 project 30 school RenÈ RoubÌËek ñ Expo 58 Brusel ValaöskÈ Mezi¯ÌËÌ

32 where to go incorporating; 33 what to see V·clav Cigler ñ Objects

32 in the next issueÖ glass

front cover Marian Volr·b The Sign / 2001 32 x 23 cm studio Private Viewing COLLECT 2004 @ V&A inthenews 02 London, February 19ó20, 2004 5. PeterMiles& JoyceSimons 4. ArtistColinReid beingintroducedtoSylvaPetrov· 3. NeilWilkin@ Adrian Sassoon 2. DavidAbelSmithandElisain conversation withZaf Iqbal 1. EntrancetoV&AandCOLLECT 2004 7 12 3 4 9. Marc&Diane Grainer 8. inconversation ColinWebster&BrianUsher 7. GlassArtists Gallery ñSydney at theStudioGlassGallerystand 6. CandiceElenaandJillCampion inconversation 5 6 8 9

Private Viewing Rubikon Group V·clav äp·la Gallery, Prague, 22. 4.ó17. 5. 2004 1 2 7 5 8 6 3 4 and VladimÌrçoupalÌk 8. GizelaäabÛkov· 7. ObjectbyJaroslavMatouö and VladimÌrZ·miö 6. RenÈRoubÌËek VladimÌr JelÌnekandMr.éert in conversationwith 5. Mr.andMrs.Harcuba 4. IvoK¯enandJaromÌrRyb·k and Dr.HubertMatÏjËek 3. BohumilEli·ö works byJaroslavMatouö 2. Ji¯Ìäuh·jekadmiring 1. V·claväp·laGallery 03 Search for Order Anna Matouökov· and Ilja BÌlek StudioGlassGallery 04 text by Milan Hlaveö / photos by Petr Dˆrfl and Martin Pol·k

Ilja BÌlek / Namesake 55 x 42 x 33 cm / 2002

Anna Matouökov· / “C” 45 x 36 x 26 cm / 2002 glass artists 2004 willbepresentingajointexhibitionoftheCzech The StudioGlassGallery,LondonfromMay25ñJuly30, the sameposition. ways,different from even thoughbothofthemare starting ofthesurroundingperceptions world ininterestingly joint exhibition makes itclearthatthey representtheir However,and creative pointsofdeparture. seeingtheir since 1996. expressions toindividualartistic leading hisstudents Bohemiahehasbeensuccessfully inNorth this city endeavours. In in histeachings asheusesinhisartistic Labem, IljaBílekprofesses approach asimilarsystematic nad ofÚstí andDesignattheUniversity of AppliedArts effect. strong scale offorms heachieves andcolours, asurprisingly transparent componentsofonecolour. Usingamoderate combines, for example, onlypure glasswithwhite orother colour schemeofhissculpturestotheminimum.He above allfor findinganorder. Lately, hehaslimited the intheformelaborated works ofsigns,helongs ofart influence ofcoincidence.Withthehelpprecisely abandons any kindofimprovisation andexcludes any hisglasssculptures.He whoconstructs a scientist as a“researcher”. a lectureonthisoccasion,inwhichhedescribedhimself degreeofDocent(seniorreader). Hedelivereduniversity Architecture andDesigninPragueconferred uponhimthe activities,whentheAcademy ofArts, teaching andartistic quantity andideas. quantity her productioncontinuesto berichbothinterms of now devotesartist muchofhertimeto heryoung family, Inspiteofthefact thatthe a diversely finishedsurface. of aseriescircular rosette-like compositionswith titled by ofthealphabet).Thethirdrangeconsists letters which achieves (works architecturaleffect analmost range isrepresentedby additionsofgeometricforms, minimalism (works titledby Roman numerals).Thesecond and DesigninPragueischaracterized by for astriving following Architecture attheAcademy herstudies ofArts, echoestheyears immediately Thefirst three basicstyles. the day. of change oftheatmosphereilluminationincourse produce anapparentchangeofcolourinrelation tothe to models. Sheusesthekindofglassthathasability Herobjectsare sculptures. composition, shetakes great carewiththescaleof mould-melting herglassforms andrelyingontraditional forms. minimalist, In andsimple,almost proportions Anna Matouökov· andpainter theglassartist topost-modernism, In contrast Anna Matoušková andIljaBílekusethe samemedium ofGlass attheFaculty As theheadofDepartment Indeed, hisrationalapproachmakes himakinto Earlier thisyear inMarch, Her works over decadecanbedividedinto thepast Anna Matoušková prefers therhythmprefers arisingfrom reminiscent ofarchitectural Ilja BÌlek and Ilja Bílek justified his justified . 05 Soustředěné hledání řádu Anna Matouökov· a Ilja BÌlek GlassGallery 06 Studio —MAVA, Madrid,Esp. —UPM, Prague,CZ Public Collections (prof. S.Libenský/prof.K.Vaňura /prof.V. Kopecký) 1984ó90 Education Born Anna Matoušková Narozena Studia Academy of Art Design&Architecture,Academy Prague ofArt 1963, Prague,CZ 1963, ZastoupenÌ veve¯ejn˝chsbÌrk·ch 2003 1999 1998 1995 1992 Solo Exhibitions Czech CentresBerlin,Germany Studio GlassGallery, London, UK Galerie VKapli, Bruntál, CZ Gallery,Alternative London,UK Arts Nakama,Tokyo,Gallery Japan SamostatnÈ v˝stavy

Ilja BÌlek / Wandering Girl II 48 x 29 x 33 cm / 2001

Anna Matouökov· / “E” 24 x 40 x 30 cm / 2002 —Museum of Decorative Arts, Hamburg, Germany—Museum ofDecorative Arts, Ireland, UK N. Museum,Belfast, —Ulster —Moravská Galerie Brno, CZ —UPM Prague, CZ Public Collections (prof. S.Libenský) 1969ó75 glass) (dept. cast 1965ó69 Education Born Ilja Bílek Narozen Studia Academy of Art Design&Architecture,Academy Prague ofArt SchoolŽeleznýBrod, Secondary 1948, Liberec,CZ 1948, ZastoupenÌ veve¯ejn˝chsbÌrk·ch 1999 1998 1993 1986 1977 Solo Exhibitions zobrazov·nÌ vjem˘zokolnÌhosvÏtazajÌmavÏodliön˝. vych·zejÌ zestejn˝chpozic,jev˝sledekjejich jejich spoleËnÈv˝stavyovöemobjasnÌ,ûep¯estoûeoba materi·lem avolÌpodobn·tv˘rËÌv˝chodiska.ShlÈdnutÌ v˝tvarnÈmu myölenÌ. ˙spÏönÏ vychov·v·svÈstudentyksamostatnÈmu Labem. VtÈtoseveroËeskÈmetropoliodroku1997 FakultÏ uûitÈhoumÏnÌadesignunauniverzitÏv⁄stÌnad Ëinnosti IljaBÌlekvyzn·v·p¯ivedenÌateliÈrusklana dosahuje p¯ekvapivÏsilnÈho˙Ëinu. komponenty. PomocÌst¯ÌdmÈök·lytvar˘abarev s bÌl˝minebojindypr˘hledn˝mijednobarevn˝mi minimum. Kombinujenap¯ÌkladpouzebezbarvÈsklo barevnost sv˝chbrouöen˝chlepen˝chplastikna touûÌ p¯edevöÌmponalezen̯·du.VposlednÌdobÏomezil preciznÏ zpracovan˝chkompaktnÌchdÏlpodobyznak˘ jakÈkoliv improvizaceanep¯ipouötÌvlivn·hody.PomocÌ kter˝m konstruujesvÈsklenÏnÈplastiky.Vzd·v·se jako badatele. p¯ednesl p¯edn·öku,vekterÈs·msebecharakterizoval akademickou hodnostdocenta.P¯itÈp¯Ìleûitosti na praûskÈVysokÈökoleumÏleckopr˘myslovÈ obh·jil svoupedagogickouiumÏleckouËinnostazÌskal poËetnÏ in·zorovÏbohat·. takÈ svÈrodinÏsmal˝midÏtmi,jejejÌtvorbanad·le povrchem. P¯estoûeautorkanynÌvÏnujen·leûit˝Ëas cyklus kruhov˝chkompozic-rozetsr˘znorodÏupraven˝m ˙Ëinu (nazv·nypÌsmenyabecedy).T¯etÌokruhtvo¯Ì geometrick˝ch tvar˘dosahujeaûarchitektonickÈho ¯Ìmsk˝mi ËÌslicemi).VedruhÈvrstvÏsËÌt·nÌm v Prazeprotknut·snahouominimalismus(znaËeny kr·tce poökolenÌnaVysokÈökoleumÏleckopr˘myslovÈ do t¯Ìz·kladnÌchokruh˘.VprvnÌmznichdoznÌvajÌlÈta v z·vislostinazmÏnÏatmosfÈryosvÏtlenÌpr˘bÏhudne. skla, kterÈmajÌschopnostzd·nlivÏmÏnitbarvu p¯ipomÌnajÌ modelyarchitektury.PouûÌv·takovÈdruhy komponov·nÌ, z·leûÌjÌnamϯÌtkuplastik.JejÌobjekty bloky sklaavyuûÌv·hladinyjako¯ezu.VolÌtradiËnÌ pomÏrnÏ jednoduchÈhozp˘sobuv˝robysv˝chdÏl:tavÌ proporcemi jednoduch˝chaûminim·lnÌchtvar˘.VyuûÌv· v kontrastuspostmodernoup¯ednostrytmudanÈmu Skl·¯sk· v˝tvarniceamal̯ka výtvarníci –AnnaMatoušková aIljaBílek. dva naspolečnévýstavě května 2004představují čeští seoddruhé polovinyV londýnskéTheStudio GlassGallery Anna Matouökov·aIljaBÌlekpracujÌsestejn˝m PodobnÏ systematick˝p¯Ìstupjakovev˝tvarnÈ VÏdce skuteËnÏp¯ipomÌn·racion·lnÌmzp˘sobem, Ilja Bílek JejÌ tvorbaposlednÌchnÏkolikaletbysedalarozdÏlit Studio GlassGallery, London, UK Galerie naJánskémVršku, CZ Glas GalerieHittfeld, Germany síň,Liberec, CZ Malá Výstavní Galerie Karolina, Prague,CZ na sklonkub¯eznaletoönÌhorokupoz·sluze SamostatnÈ v˝stavy Anna Matoušková d·v· 07 08 interview 09

Motto: Autumn 2003 the permanent exhibition from the If a nation’s culture survives, collection of Jan and Meda Mládek—Museum Kampa— opened in the reconstructed Sova Mill. In addition to the then so too does the nation. pioneer of abstract art František Kupka and the Cubistic Jan Mládek (1912–1989) sculptor Otto Gutfreund, the collection comprises works by prominent artists from the Czech lands, Slovakia, Hungary, Poland and former Yugoslavia. In reconstruction, glass elements have been applied. Therefore I asked Mrs. Meda Mládková for an interview, posing the following questions: Footbridge Lávka V·clav Cigler Tower and Brooklet Věž a Potůček Marian Karel

What is your relationship to glass in architecture? The glass in architecture is a topic which interests me very much. It is a material which, in my opinion, goes well with any architecture. I think that Czech glass artists are I think that Czech glass artists are a name in the world and they could make it in architecture, which would be wonderful. It is certainly a great opportunity.

Did you have an idea how to adapt Sova Mill for the needs of a museum, and what led you to the decision to use in reconstruction the glass elements? I felt that glass would go well with the existing architecture, but it was really very difficult and complicated to push it through. The local press wrote many times about the whole affair both in positive and negative terms. That is why I do not want to talk about it

Meda Mládková too much. In the end I asked for advice and help the glass artist Václav Cigler, my friend of many years. It was him who brought Marian Karel and Dana Zámečníková; they created a model which was adjusted in the process, according to which way the work was done.

Are you satisfied with the overall appearance of the applied glass elements? I am very happy. The terrace is wonderful just like the tower, the passageways and the brook. But it is not all. I like things in odd numbers. One glass element is still missing here. I would like to build accommodation for

text by Olga Z·miöov· / photos by Pavel ätecha and archive of editor text by Olga Z·miöov· guests above the former barn, and there I would like to have glass. It is still waiting to be realized.

Which Czech glass artists are close to your heart? You had very good taste. In the early 1980s I dealt for two years in particular with In retrospective I agree. The theoretician Jindřich Czech glass. I selected Libenský, Brychtová, Roubíček, Chalupecký used to tell me, “You are difficult, but you Kopecký, Cigler, Harcuba and Lišková. I wanted to show have a wonderful eye.” various forms of Czech glass in America. I organized exhibitions and many lectures, and published a catalogue So when did you decide to donate the collection to “Czechoslovak Glass—Seven Masters”. It was issued for Prague? the exhibition which took place between January and May At first my husband and I decided that František Kupka’s 1983 at the American Arts and Crafts Museum in New works will stay in Washington in the National Gallery and York. In the following years my main focus was oriented that all the modern art would go to Prague to the National toward the modern visual arts. Gallery. My husband died, and when I came in 1989, I realized that it made sense to give the whole collection When you were building the collection, did you have an to Prague, and so it happened. idea that you would donate it to the city of Prague one day? Originally you wanted to put the collection to a cloister. I was not building a collection; it came into being Why? gradually from my effort to help the artists who were not I wanted a cloister because I said to myself that artists allowed to present themselves publicly in their countries. actually prayed with their art. They could not exhibit, no The works of art have been selected by me from those one was allowed to write about them, they were not whom I wanted to support since I liked them the most and allowed to go abroad; they stayed at home and worked. It they were giving me the most by their art. A collection for is as if they subconsciously invented styles which were a museum is built in another way. rather laborious. They elaborated their artefacts for a long 10 interview 11

Na podzim loÚskÈho roku byla otev¯ena st·l· expozice time, and that is why they are so powerful emotionally, full Unfortunately, Sova Mill was affected by the 2002 flood. sbÌrky Jana a Medy Ml·dkov˝ch ñ Museum Kampa ñ of inner experiences and the soul of their creators. How much devastating it was? v rekonstruovan˝ch Sovov˝ch ml˝nech. KromÏ dÏl Therefore I was interested in the former Augustinian This fact delayed the opening of the museum. Several pr˘kopnÌka abstraktnÌho umÏnÌ Frantiöka Kupky Monastery in Karlov. But unfortunately it did not work out. exhibits were broken, such as the glass wall by Dana a kubistickÈho socha¯e Otto Gutfreunda obsahuje sbÌrka Zámečníková, some were taken away by the water. It was dÌla v˝znamn˝ch umÏlc˘ z »ech, Slovenska, MaÔarska, Is it why you have decided for Sova Mill? of course very unpleasant. However, it is behind us, the Polska a b˝valÈ Jugosl·vie. P¯i rekonstrukci byly takÈ No, I did not. I lived nearby and went around quite often. gallery is open and functioning. pouûity sklenÏnÈ prvky. Proto jsem panÌ Medu I liked that building very much, but it was already booked. Ml·dkovou poû·dala o rozhovor a zeptala se jÌ: However, the person who booked it changed his mind, and Thank you for the interview. so I started to work on it and in the end I have got the building for my plan.

Motto: Jaký je váš vztah ke sklu v architektuře? Přežije-li kultura, přežije národ. Sklo v architektu¯e je tÈma, kterÈ mÏ velmi zajÌm·. Je to Jan Mládek (1912–1989) materi·l, kter˝ se podle mÈho n·zoru dob¯e doplÚuje s jakoukoli architekturou. MyslÌm si, ûe ËeötÌ skl·¯ötÌ v˝tvarnÌci jsou ve svÏtÏ pojmem a mohli by se v architektu¯e prosadit, coû by bylo b·jeËnÈ. UrËitÏ to je velk· p¯Ìleûitost.

Měla jste představu, jak Sovovy mlýny upravit pro potřeby galerie a co vás vedlo k rozhodnutí použít při rekonstrukci skleněné prvky? CÌtila jsem, ûe sklo by se se st·vajÌcÌ architekturou dob¯e skloubilo, bylo ale velmi sloûitÈ a komplikovanÈ to prosadit. O celÈ z·leûitosti se mnohokr·t psalo ve zdejöÌm tisku v pozitivnÌm i negativnÌm duchu. Proto uû o tom nechci moc mluvit. Nakonec jsem se obr·tila s û·dostÌ o radu a pomoc na skl·¯skÈho v˝tvarnÌka V·clava Ciglera, svÈho dlouholetÈho p¯Ìtele. On p¯ivedl Mariana Karla a Danu Z·meËnÌkovou, udÏlali model, kter˝ se postupnÏ upravoval a podle nÏj se pracovalo.

Jak jste spokojena s celkovým vyzněním použitých skleněných prvků? Jsem velmi spokojena. Terasa je n·dhern·, stejnÏ tak vÏû, pr˘chody, pot˘Ëek. JeötÏ to ale nenÌ vöe. M·m r·da vÏci v lichÈm poËtu. Tady chybÌ jeötÏ jeden sklenÏn˝ prvek. Nad b˝valou konÌrnou bych chtÏla vybudovat ubytov·nÌ pro hosty a tam bych byla r·da, kdyby se sklo jeötÏ pouûilo. To zatÌm na realizaci teprve Ëek·.

Kteří čeští sklářští výtvarníci jsou vám blízcí? ZaË·tkem osmdes·t˝ch let jsem se zab˝vala dva roky p¯edevöÌm Ëesk˝m sklem. Vybrala jsem si pana Meda Ml·dkov· LibenskÈho, Brychtovou, RoubÌËka, KopeckÈho, Ciglera, Harcubu, Liökovou. ChtÏla jsem v Americe uk·zat r˘znÈ podoby ËeskÈho skla. Po¯·dala jsem v˝stavy, mnoho p¯edn·öek a vydala katalog ñ Czechoslovak Glass ñ Seven Masters. Byl vyd·n k v˝stavÏ, kter· probÌhala v obdobÌ ledenñkvÏten 1983 v American Craft Museu v New Yorku. V dalöÌch letech jsem ale sv˘j hlavnÌ z·jem orientovala zase k modernÌmu v˝tvarnÈmu umÏnÌ.

Když jste sbírku budovala, měla jste představu, že ji jednou věnujete Praze? SbÌrku jsem nebudovala, vznikala postupnÏ z mÈ snahy pom·hat v˝tvarnÌk˘m, kte¯Ì se nesmÏli ve svÈ zemi ve¯ejnÏ prezentovat. Tyto vÏci jsou vybranÈ mnou od tÏch, kterÈ jsem chtÏla podpo¯it, protoûe se mi nejvÌce lÌbili a nejvÌce mi sv˝m umÏnÌm d·vali. SbÌrka pro muzeum se buduje jin˝m zp˘sobem. 12 interview 13

I also asked the glass artists who participated in the reconstruction for a few words.

I asked V·clav Cigler: I addressed Marian Karel with the following question: How did you approach this task? What were your feelings? Naturally, we felt rather flattered when Meda Mládek invited us to I was attracted to it very much. The proximity to the river was collaborate. It was in a way an expression of patriotism since we inspiring. I love water as an element; during Renaissance, let ourselves be inspired by her, by her enthusiasm, without which a garden without water would be unthinkable. And this was what this work would have never been created. The work took a long I intended to realize here. Not a calm lake, but water going from time. I kept meeting with Dana Zámečníková and Marian Karel, somewhere to somewhere, a water line connecting the building and for hours we discussed not only the concept, but also the with the river, the surrounding world, making its way through individual components in detail. Although each piece has been a narrow slit between houses. Its vertical counterpoint is the so made by its author—I devoted myself in particular to the terrace much discussed glass tower, which, however, merely continues and the bridge—it is a collective work, and I am happy with it. where the original building had burnt out and whose slanted ending logically closes this element. Yes, I am glad that I have had the opportunity to be part of this project.

Měla jste dobrý vkus a odhad. vnit¯nÌch proûitk˘ a duöevna sv˝ch tv˘rc˘. I proto jsem Kdyû to teÔ vidÌm, tak ano. To mi ¯Ìkal vûdy teoretik mÏla z·jem o b˝val˝ kl·öter augustini·n˘ na KarlovÏ. Ale Jind¯ich Chalupeck˝. ÑJste difikltnÌ, ale m·te b·jeËn˝ to bohuûel nevyölo. oko.ì Proto jste se rozhodla pro Sovovy mlýny? Kdy jste se tedy rozhodla věnovat sbírku Praze? Ne nerozhodla. Kousek od nich jsem bydlela a chodila Nejprve jsme se s m˝m manûelem rozhodli, ûe pr·ce Ëasto kolem. Moc se mi ten objekt lÌbil, ale byl uû Frantiöka Kupky z˘stanou ve Washingtonu v N·rodnÌ zadan˝. DotyËn˝ z·jemce si vöe nakonec rozmyslel a tak galerii a vöechno modernÌ umÏnÌ p¯ijde do Prahy do jsem se o nÏ zaËala zajÌmat a nakonec je pro sv˘j z·mÏr O pár slov jsem požádala i sklářské výtvarníky, kteří se na rekonstrukci podíleli. N·rodnÌ galerie. M˘j manûel zem¯el, a kdyû jsem sem zÌskala. p¯ijela v roce 1989, uvÏdomila jsem si, ûe teÔ d·v· Václava Ciglera jsem se zeptala: Mariana Karla jsem oslovila otázkou: smysl d·t celou kolekci do Prahy a tak se takÈ stalo. Bohužel i Sovových mlýnů se dotkla povodeň v roce 2002. Jak jste k tomuto úkolu přistupovali? Jaké byly vaše pocity? Byla hodně devastující? CÌtili jsme se p¯irozenÏ velmi poctÏni, kdyû n·s Meda Ml·dkov· Velice mne to l·kalo. Ta blÌzkost ¯eky byla inspirujÌcÌ. Miluji Původně jste chtěla sbírku umístit v klášteře, proč? Tato skuteËnost otev¯enÌ muzea odd·lila. NÏkterÈ vybÌdla ke spolupr·ci. Byl to sv˝m zp˘sobem projev takovÈho vodu jako ûivel, v renesanci byla zahrada bez vody nemysliteln·. vlastenectvÌ, protoûe jsme se jÌ samotnou nechali inspirovat, A to jsem chtÏl zde realizovat. Ne klidnÈ jezÌrko, ale vodu jdoucÌ ChtÏla jsem kl·öter, protoûe jsem si ¯Ìkala, ûe ti expon·ty se rozbily, nap¯Ìklad sklenÏn· stÏna Dany jejÌm entuziasmem, bez nÏhoû by toto dÌlo nikdy nevzniklo. Ta odnÏkud nÏkam, vodnÌ linku propojujÌcÌ objekt s ¯ekou, v˝tvarnÌci se vlastnÏ s tÌm umÏnÌm opravdu modlili. Z·meËnÌkovÈ, nÏco voda odnesla. Bylo to samoz¯ejmÏ pr·ce trvala dlouho, sch·zeli jsme se spoleËnÏ s Danou s okolnÌm svÏtem, prodÌrajÌcÌ se ˙zkou ötÏrbinou mezi domy. Nemohli vystavovat, nikdo o nich nesmÏl ps·t, nesmÏli velmi nep¯ÌjemnÈ. Uû je to ale za n·mi, galerie je Z·meËnÌkovou a Marianem Karlem a nekoneËnÈ hodiny Vertik·lnÌm protipÛlem je tolik diskutovan· sklenÏn· vÏû, kter· jezdit do ciziny, byli doma a tvo¯ili. Jako by si podvÏdomÏ otev¯en· a funguje. prodebatov·vali nejen koncepci, ale i vÏci v urËit˝ch detailech. ale jen pokraËuje v mÌstech, kde p˘vodnÌ stavba vyho¯ela a jejÌû vym˝öleli styly, kterÈ byly hodnÏ pracnÈ. Pracovali na I kdyû za kaûdou Ë·stÌ st·l autor ñ j· s·m jsem se vÏnoval hlavnÏ öikmÈ zakonËenÌ jen logicky uzavÌr· tento prvek. Ano, jsem r·d, sv˝ch dÌlech dlouho, proto jsou tak pocitovÏ siln·, pln· Děkuji za rozhovor. terase s l·vkou ñ je to pr·ce kolektivnÌ a jsem s nÌ spokojen. ûe jsme se s tÌmto dÌlem potkali. 14 profile 15 text by Olga Z·miöov· / photos Petr Dˆrfl and Gabriel Urb·nek text by Olga Z·miöov·

Ring Black Aphrodite 78 x 85 x 10 cm / 2001

Aleš Vašíček 25 x 27 x 17 cm / 2001

Works by Aleš Vašíček Aleö VaöÌËek Aleö VaöÌËek has been strongly influenced and guided by enabled him to create independently and look for new will be on show at the Born 1947, Ostrava, CZ his studies under Stanislav Libenský, who by his forms. This path is represented by his departure from Studio Glass Gallery, progressive approach extricated the tuition from the tight a bright, shiny surface of the cut to the sculptural London, autumn 2004. Studies vest of the curriculum, allowing for free expression. In the expression using melted material with its colour shades, 1962—1966 1970s and 1980s Aleš Vašíček devoted himself to a natural, non-processed shape and a matt surface, which Secondary Glass-making School in Železný Brod prismatic optical sculpture, making a considerable works with the light in an entirely different way than the 1966—1972 contribution to its development, creating original “cut” sculpture. The abstraction is being transformed into Academy of Arts, Architecture and Design in Prague, geometric sculptures by cutting and glueing. These more specific forms, where the determining element is Department of Professor Stanislav Libenský sculptures were the centre of attention at the a circle in diverse variations. In recent years, Aleš Vašíček international show “New Glass 79” in Corning (US), which seems to arriving at a synthesis of his individual stages, to Prizes presented a juxtaposition of two streams, the technology partial returns to the techniques of cutting and gluing, to 1990 Grand Prix at the international exhibition of hot glass and the geometrically shaped compositions, a pure crystal, which makes it possible for him to meet “Glass Kanazawa ’90” in Japan which give a credit to optical qualities of cut glass mass. the sculptural ideas without external influences and 2000 Honourable Mention for VESSELS In the late 1980s Vašíček began to deal with melted effects. at the international exhibition in Koganezaki, Japan sculpture, acquiring his own furnace in his studio. This 16 profile 17 Aleše Vašíčka silnÏ ovlivnilo a nasmÏrovalo studium umoûÚuje nez·vislost tvorby a hled·nÌ nov˝ch forem. u Stanislava LibenskÈho, kter˝ sv˝m pokrokov˝m Touto cestou je odklon od ËistÈho lesklÈho povrchu brusu p¯Ìstupem vymanil v˝uku z tÏsnÈho kab·tu uËebnÌch k socha¯skÈmu vyj·d¯enÌ pomocÌ tavenÈ materie s jejÌmi Aleš Vašíček osnov a povolil voln˝ p¯Ìstup k vyj·d¯enÌ. V sedmdes·t˝ch barevn˝mi odstÌny, p¯irozen˝m, neopracovan˝m tvarem Narozen 1947 v OstravÏ a osmdes·t˝ch letech se Aleö VaöÌËek intenzivnÏ vÏnoval a matn˝m povrchem, kter˝ pracuje se svÏtlem zcela prismatickÈ plastice, k jejÌmuû v˝voji znaËnÏ p¯ispÏl jinak, neû brouöen· plastika. Abstrakce se mÏnÌ na Studia Ceny a dovedl brouöenÌm a leötÏnÌm objevovat svÈbytnÈ konkrÈtnÏjöÌ tvary, kde urËujÌcÌm prvkem se st·v· kruh 1962ó1966 St¯ednÌ umÏleckopr˘myslov· ökola Grand Prix na mezin·rodnÌ v˝stavÏ geometrickÈ skulptury. TÏmi na sebe z·sadnÏ upozornil v r˘zn˝ch variacÌch. V poslednÌch letech jakoby doch·zelo skl·¯sk· éelezn˝ Brod Glass Kanazawa í90 ñ Japonsko 1990 zejmÈna na svÏtovÈ p¯ehlÌdce New Glass 79 v Corningu, u Aleöe VaöÌËka k syntÈze jednotliv˝ch etap, 1966ó1972 Vysok· ökola umÏleckopr˘myslov· v Praze Honorable Mention, Vessels na mezin·rodnÌ v˝stavÏ kde se st¯et·valy dva smÏry, technika horkÈho skla k Ë·steËn˝m n·vrat˘m k technik·m brouöenÌ a leötÏnÌ, ñ atelier prof. Stanislava LibenskÈho Koganezaki ñ Japonsko 2000 a geometricky tvarovanÈ kompozice, kterÈ d·valy k ËirÈmu k¯iöù·lu, kter˝ mu umoûÚuje naplnÏnÌ vyniknout optick˝m vlastnostem p¯ebrouöenÈ skloviny. socha¯sk˝ch p¯edstav bez vnÏjöÌch vliv˘ a efekt˘. Koncem osmdes·t˝ch let se zaËÌn· zab˝vat tavenou plastikou a po¯izuje si do svÈ dÌlny vlastnÌ pec, kter· mu Objekty Aleöe VaöÌËka budou na podzim roku 2004 vystaveny ve Studio Glass Gallery v Lond˝nÏ. Aleö VaöÌËek

Soft Cut Topaz disc White cave 75 x 65 x 12 cm / 1999 78 x 85 x 10 cm / 2001 70 x 85 x 17 cm / 2001 Javier Gómez text by Paloma Pastor Rey de Vinas / photos archive of artist 18 review

Espacio Abierto VII —Museum Fur Kunst undGewerbe, Hamburg, Germany —Glasmuseum Frauenau, Germany Denmark —Glass Museum,Ebeltoft, —Glass Museum,Liege,Belgium Poteries,—Glass Museum,Sars France —MAVA Alcorcon,Madrid,Spain —Corning Museum,Corning ,USA Works inMuseums 2003 2000 1998 —Casino GranMadrid,Madrid —Casa delaCulturaSLdelEscorial,Madrid 1997 1994 —Galerie DeAmon,Paris, France 1990 —Galerie Quorum, Madrid Madrid —Centro CulturalVilla,Mostoles, 1988 1987 Solo Exhibitions skla vAlcorconuMadridu(MAVA) UmÏleck˝ ¯editelMÌstnÌhomuzeaumÏleckÈho ofAlcorcon –Madrid(MAVA)in thecity Director oftheMuseumGlass Artistic Narozen 1957/Avila,äpanÏlsko born 1957 /Avila, Spain Javier Gómez 76 x 29 x 26 cm / 2002 Finnish GlassMuseum,Riihimaki,Finland MAVA Alcorcon,Madrid(Retrospective) Galerie L,HamburgGermany Galerie DionisBennassar, Madrid DiezAlcolado,Madrid Galerie deArte, Casa delaCultura,CiudadaReal, Madrid ofCulture,Madrid Ministry Civic CentreAlcorcon,Madrid,Spain SamostatnÈ v˝stavy ZastoupenÌ vmuzeÌch shape. volume,treatment, andhetakes fromsculpture form and fromitssurface and translucenceofglasses,apart glass window chromaticrange he rescuesfromstained glasswindow.defined assculpturalstained Thatisto say, glasswindow andthatcouldbe andstained sculpture intense. Work thatcouldbesituated ina midway between geteachtimemore andmore translucence ofcolours expression wherevolume ofshapesandgradation deliberate changeledJavier Gómezto anew languageof exploration. considerateand Ontheotherhandavery previous centrifugalmovement tosearchinherentcolour moment when,inthe1990s,hedecidedtoseparatefrom many years ontherepetitive sequenceofplanes,tillthe abstraction. andgettingcloserto geometrical art representational inhissculptures,removing from and stages movementspread outinthespace,hegenerateddifferent condensed. Usingsuperimposedsequentialplanesthat wherelightis resembles someform oferodedsurfaces tocreatewhat “craquelures” andsandblastings, with monochrome andcoldcutglass,working itssurface with amoreadvanced technique, superposed laminated, the beginningofhiswork inthemiddleof1980sand resembles like suspendedhangingspheres. thevitreous material tocreatewhat times toempty alotof geometrical shapes,squareandsphere,resorting throughoppositecreated arationalconstructivism JoaquínTorresInspired by other1980sEuropeanartists, predecessor inSpainofsculpturallaminatedglass. Torres. JoaquínTorres artist, Self-taught was the Spain attheendof1970s ontheinitiative ofJoaquín glass,theStudiosculptural GlassMovement was born in culturalaccents.Alludingto different contemporary very naturally atthepresent timeitisalsopossibleto notice adjoining countries. itfromothermanufactures of identifies anddiffers that andidentity always itsown maintained style been inspiredby Bohemianglass.However localglasshas made attheRoyal GlassManufactureofLaGranjahas the samedates arequite noticable.Particularly, glass or Venetian manufacturesby influenceinothercastilian centuries, productioncentresfrom16th to18th Catalan rootsinAndalusianand regions. Thepresence oforiental itstracesonmany adjoining cultural confluencesthatleft countries, sinceancienttimesSpainhasbeencentre of workshops innumerousSpanishregions. during Roman period,confirming thepresenceofglass ofblown andflatglass age, aswell asalargequantity glassitems shapedlikefirst smallbeadsfromtheBronze of archaeologicalexcavations proves thepresenceof Anumber past. its geographicalsituationandhistorical Spain countswitharichandvaried dueto glassheritage Javier Gómezbeyond theSpanishborders. tointroduce theretrospectiveprojects, hasserved work of are linked by alongaccountofcommonexhibition (Finnish GlassMuseum–Autumn 2003),withwhichwe recently beenexhibited attheSuomenLasimuseuo thathas glasssceneinSpain.Hiswork, contemporary renowned exponents and notable frompresent inAlcorcón –Madrid,MAVA)Glass Art isoneofmost enVidriodeAlcorcón(LocalMuseumof Municipal deArte Javier GÛmez His creative spirittakes himtirelessly towork during As withJoaquínTorres, Javier Gómezhasalsousedfrom hascoexistedIf itspast withotherborderingcountries, tootherEuropean Due toitsgeographicalproximity , assculptorandfounder ofMuseo 19 20 review 21

äpanÏlsko m· bohatÈ a rozmanitÈ skl·¯skÈ dÏdictvÌ PodobnÏ jako JoaquÌn Torres i Javier GÛmez od Esfera I – 03 vzhledem ke svÈ zemÏpisnÈ poloze a historickÈ poË·tku svÈ tvorby v polovinÏ 80. let vyuûÌval pokroËilejöÌ diameter 50 x 17,5 cm / 2003 minulosti. ÿada archeologick˝ch vykop·vek dokl·d· techniku vrstvenÈho, laminovanÈho, monochromnÌho Espacio Abierto XLVIII v˝skyt prvnÌch sklenÏn˝ch p¯edmÏt˘ ve tvaru kor·lk˘ a brouöenÈho skla, jehoû povrch opracov·val pomocÌ 33 x 70 x 11 cm / 2001 Espacio Abierto VI v dobÏ bronzovÈ i velkÈ mnoûstvÌ dutÈho a plochÈho skla Ñcraqueluresì a pÌskov·nÌ, ËÌmû vytv·¯el jakousi formu 8,5 x 43 x 14 cm / 2003 z doby rom·nskÈ, coû potvrzuje existenci skl·ren erozivnÌch povrch˘, na nichû se kondenzuje svÏtlo. v Ëetn˝ch öpanÏlsk˝ch krajÌch. Prost¯ednictvÌm vrstven˝ch po sobÏ n·sledujÌcÌch ploch, Arco DÌky svÈ geografickÈ blÌzkosti k dalöÌm evropsk˝m kterÈ se rozprostÌrajÌ v prostoru, generoval ve sv˝ch 17 x 23,5 x 7 cm / 2003 zemÌm bylo äpanÏlsko od starovÏku centrem setk·v·nÌ plastik·ch r˘zn˝ pohyb a st·dia, ËÌmû se dost·val od Espacio Abierto V kultur, coû zanechalo stopy na mnoha p¯ilehl˝ch obraznÈho umÏnÌ blÌûe ke geometrickÈ abstrakci. 16 x 43,5 x 27 cm / 2003 regionech. Zvl·öù patrnÈ jsou orient·lnÌ ko¯eny Tv˘rËÌ duch ne˙navnÏ vedl GÛmeze po mnoho let andalusk˝ch a katal·nsk˝ch v˝robnÌch st¯edisek od k pr·ci na opakujÌcÌch se sekvencÌch ploch aû do Espacio Abierto VII 16. do 18. stoletÌ Ëi ben·tsk˝ vliv v jin˝ch kastilsk˝ch okamûiku, kdy se v 90. letech rozhodl vymanit 76 x 29 x 26 cm / 2002 manufaktur·ch z tÈhoû obdobÌ. Sklo vyr·bÏnÈ v Kr·lovskÈ z p¯edchozÌho odst¯edivÈho hnutÌ a hledat z·kladnÌ skl·¯skÈ manufaktu¯e v La Granja se od nepamÏti barevnost. Tato velmi uv·ûliv· a promyölen· zmÏna inspirovalo Ëesk˝m sklem. P¯esto si mÌstnÌ sklo vûdy dovedla Javiera GÛmeze k nov˝m v˝razov˝m prost¯edk˘m, zachovalo sv˘j svÈbytn˝ styl a totoûnost, kterÈ jej odliöujÌ kdy se st·le vÌce zintenzivÚuje objem tvar˘, stupÚov·nÌ od produkce jin˝ch manufaktur v sousednÌch zemÌch. a pr˘hlednost barev. Jeho tvorbu lze za¯adit nap˘l mezi Jestliûe v minulosti äpanÏlsko koexistovalo s ostatnÌmi plastiku a nap˘l vitr·û a lze ji definovat jako socha¯skou sousednÌmi zemÏmi, i dnes je moûno post¯ehnout velmi vitr·û. To znamen·, ûe z vitr·ûÌ si bere barevnost r˘znorodÈ kulturnÌ akcenty. Co se t˝Ëe souËasnÈ a pr˘svitnost skla (kromÏ jeho povrchovÈ ˙pravy) sklenÏnÈ plastiky, hnutÌ ateliÈrovÈho skla se ve a ze socha¯stvÌ zase objem, formu a tvar. äpanÏlsku zrodilo koncem 70. let z iniciativy socha¯e Javier Gómez, jako socha¯ a zakladatel MÌstnÌho JoaquÌna Torrese. JoaquÌn Torres byl v˝tvarnÌk-samouk, muzea umÏleckÈho skla v AlcorcÛnu v Madridu (Museo kter˝ se ve äpanÏlsku stal p¯edch˘dcem vrstven˝ch Municipal de Arte en Vidrio de AlcorcÛn zvanÈ MAVA), sklenÏn˝ch soch. Inspirov·n jin˝mi evropsk˝mi umÏlci je jednÌm z nejproslulejöÌch a nejpozoruhodnÏjöÌch 80. let JoaquÌn Torres dospÏl prost¯ednictvÌm exponent˘ souËasnÈ skl·¯skÈ scÈny ve äpanÏlsku. Na protikladn˝ch geometrick˝ch tvar˘ Ëtverce a koule podzim 2003 uspo¯·dalo FinskÈ muzeum skla (Suomen k racion·lnÌmu konstruktivismu. »asto se uchyloval Lasimuseuo), s kter˝m n·s pojÌ dlouh· ¯ada spoleËn˝ch k vypr·zdnÏnÌ sklovitÈho materi·lu, ËÌmû vytv·¯el objekty v˝stavnÌch projekt˘, retrospektivnÌ v˝stavu jeho dÌla, na podobnÈ zavÏöen˝m koulÌm. kterÈ p¯edstavilo jeho tvorbu za hranicemi äpanÏlska. Javier GÛmez 22 portrait 23

Marian Volr·b does not focus on any particular technology, making full use of glass just in the form he needs at any particual moment: sometimes these are metallurgical, layered hollow shapes, another time, especially in the recent period of his work, he himself creates reliefs which he melts and finishes by cutting. There was no recent artistic trend which would influence Marian Volráb, who stubbornly goes his own way. From the beginning, Volráb’s main subject was the existence of a human being with all his/her relations and relationships, with all revulsions of life, the oppressive solitude, the tragic moments in everyone one of us. Yet another subject is, however, landscape into which he incorporates both inner and outer universes; landscape perceived in all its magnificence and poetic mystery; landscape as the power of life but also as the incessant threat. Human figure, probably never missing in these works, is always heavily stylised or deformed, always to be found in extreme positions and situations, surrounded by events rushing around and full of tension. Each object is the result of great searching; in many cases, it is enveloped in curious silent atmosphere and exists as if just for its own sake, creating a world of its own. text by Alena Volr·bov· / photos Gabriel Urb·nek and Jan Jindra In Space I 50 x 68 cm / 2001 Marian Volráb’s World of Objects World Marian Volráb’s

Marian Volráb Solo Exhibitions SamostanÈ v˝stavy Participation in Exhibitions ⁄Ëast na spoleËn˝ch v˝stav·ch 1994 Obrazy, sklo, plastiky, Muzeum skla a bižuterie, Born Narozen 1961, Příbram, CZ 1994 Marian Volráb – Eliška Rožátová, Galerie Stodola, 1992 Talentbörse, Handwerkmesse, München, BRD Jablonec nad Nisou, CZ Český Krumlov, CZ —Souvstažnosti, Dům umění Brno, CZ —Glass Now 16th, Yamaha, Japan Education Studia 1995 Setkání dvou cest/Meeting of two Ways, —Súhry 1992, Simoneglass Art Gallery, Bratislava, SK —Prag Glaskunst, Historischen Residenz Bamberg, 1978ó1982 Specialised school of glassmaking, Karlovarské muzeum, Karlovy Vary, CZ, with Eliška —Sklodola, Galerie Stodola, Český Krumlov, CZ Bamberg, Germany Kamenický Šenov Rožátová 1993 Galerie Vetro, Frankfurt am Main, Germany 2000ñ2001 Transfiguration of Light: Czech Contemporary 1982ó1988 Academy of Art, Design & Architecture, 1998 Marian Volráb, Galerie Půda, Lomnice nad Popelkou, Glass now 15th, Yamaha, Japan Glass Sculptures, Japan. Prague (prof. S. Libenský) CZ Výsledky sympozia tabulového skla, Glavunion Teplice, 2001ñ2003 Stanislav Libenský a jeho žáci/Prof. Stanislav 1990ó Glass dept. assistant to prof. Vladimír Kopecký, 1999 Jan Jelen, Marian Volráb, Sklo, obrazy kresby, Regionální muzeum Teplice, CZ Libenský and his Pupils, Praha, Technické muzeum (2001), Academy of Art, Design & Architecture, Prague Městská Galerie, Kladno, CZ, with Jan Jelen Fascination Glass, Gewerbemuseum Winterthur, travelling exhibiton/putovní výstava: Taiwan (2002), New 1999 Jan Jelen, Marian Volráb, The Exhibition Room Winterthur, Swiss York (2003) of the IPB Bank, Prague, CZ, with Jan Jelen Bohemia Cristal, Real Fábrica de Cristales de la Granja, 2002 International Symposium of Engraved Glass, 2003 Setkání/Meeting, Kamenický Šenov, CZ, with Pavel Segovia, Spain Kamenický Šenov, CZ Werner, Vladimír Klein, Ivan Mareš, František Janák 24 portrait 25

In the Middle 32 x 23 cm / 2000 The Landscape I 17 x 14 cm / 2002ñ2003 From Above 32 x 23 cm / 2000 Salamander 24 x 18 cm / 2001ñ2003 The Grip 24 x 45 cm / 2000ñ2003

Od dob sv˝ch studiÌ se Marian Volráb soubÏûnÏ vÏnuje skl·¯skÈ tvorbÏ a malbÏ. Do dvou poloh vöak jeho tvorbu dÏlÌ jen pouûitÈ mÈdium, nikoliv tÈma, pro kterÈ hled· v˝raz v obojÌm. Sklo mu poskytuje nejen moûnost sv˝ch barevn˝ch a svÏteln˝ch kvalit ñ kter˝ch ostatnÏ uûÌv· st¯ÌdmÏ a s rozmyslem ñ, ale takÈ moûnosti plastickÈho vyj·d¯enÌ a moûnosti pouûitÌ pro nÏj typick˝ch struktur (proveden˝ch vÏtöinou brusivy rozliËn˝ch zrnitostÌ), kterÈ jsou mu podobn˝m prost¯edkem jako v obrazech barva. Nesoust¯eÔuje se na speci·lnÌ ¯emeslnou technologii. Sklo pouûÌv· v tÈ podobÏ, kterou pr·vÏ pot¯ebuje ñ nÏkdy jsou to hutnÌ vrstvenÈ dutÈ tvary, nÏkdy ñ zejmÈna v poslednÌ dobÏ ñ s·m vytv·¯Ì reliÈfy, kterÈ tavÌ a pak

Untitled 14 x 50 cm / 2003 In Space II 8 x 52 cm / 2002 On the Margin 8 x 52 cm / 2002 brousÌ. R˘znÈ v˝tvarnÈ proudy, jeû se bÏhem poslednÌ doby objevily, se Mariana Volr·ba tÈmϯ nedotkly. TvrdohlavÏ jde svou vlastnÌ cestou. Od poË·teËnÌch let jeho tvorby je mu n·mÏtem existence lidskÈho jedince s jeho vztahy, ûivotnÌmi zvraty, s tÌûiv˝m osamocenÌm, s tragiËnostÌ skrytou v kaûdÈm z n·s. TakÈ je to ale krajina, do kterÈ zahrnuje vnÏjöÌ i vnit¯nÌ kosmos, vnÌman· ve svÈ velkoleposti a poetickÈ tajemnosti, jako ûivotnÌ sÌla, ale i neust·vajÌcÌ hrozba. Lidsk· figura, kter· v jeho dÌlech snad nikdy nechybÌ, se zde objevuje silnÏ stylizovan· a deformovan·, v krajnÌch poloh·ch a situacÌch, obklopen· proudÌcÌm dÏnÌm pln˝m napÏtÌ. Kaûd˝ objekt je v˝sledkem velkÈho hled·nÌ; b˝v· obklopen zvl·ötnÌ ztichlou atmosfÈrou a existuje jakoby s·m pro sebe ñ vytv·¯Ì sv˘j vlastnÌ svÏt. SvÏt objekt˘ Mariana Volr·ba On the Edge 8 x 50 cm / 2001 Between 8 x 52 cm / 2002 Focal Point Focal 7 x 52 cm / 2002 The Beginning II 8 x 52 cm / 2002 The Melting Point 7 x 52 cm / 2003 On the Margin II 8 x 52 cm / 2002 René Roubíček EXPO 58 Brusel text by Olga Z·miöov· / photos archive of editor project 26 it willagain becomecenter pieceofthe show. exhibition “Czech Glassfromthe1940sto1980s”, where springof2005at the to beinaugurated inDüsseldorf, sculptureis Museum. Therestored Prague andDüsseldorf in oftheNationalGallery in thesculpturebothonpart complete thework onhisown, becausethere was interest due tofinancialreasons.Nevertheless hedecidedto buttheJablonec Museumwithdrewrestoration, itsoffer today’s perspective andmove on.Hebeganto work onthe felt thatitwas achanceto transform thepiecefrom ofthissculpture.Hegladlyacceptedsince he restoration Jablonec Museum,whichasked René Roubíček for ofthisexhibit weresummer 2002parts found inthe entitled for arepresentativeinstallation exhibition inPrague Prix. Ayear later, Roubíček madealargerversion ofthis form, whichwon award thehighest atexhibition, Grand It was ofanewly avision, ademonstration conceived elements. Itwas entitled glass,complementedbyshaped blocksofcast other manually ofalargesculpturemadecolourful, consisted the visualpossibilitiesofglass.Thecentral motif kind exhibit andpresent hisown ideaabout self-contained tocreate alargeone-of-a- Roubíček hadanopportunity EXPO í58Brussels Glass—Substance, Form, Expression —at this exhibition, glass artist René—at thisexhibition, glassartist Glass-Matter-Form-Expression . Inthe . Nesla n·zev blok˘ zlitÈhoskla,kompoziËnÏdoplnÏnadalöÌmiprvky. tvo¯ila rozmÏrn·plastikazbarevn˝ch,ruËnÏtvarovan˝ch p¯edstavu ov˝tvarn˝chmoûnostechskla.⁄st¯ednÌmotiv solitÈrnÌ expon·tap¯edvÈstsvojivlastnÌucelenou v˝tvarnÌk RenÈRoubÌËekmoûnostvytvo¯itrozmÏrn˝ EXPO 58Brusel motivem. do osmdes·t˝ch let,kdebymÏlab˝t˙st¯ednÌm roku vD¸sseldorfu nav˝stavÏ»eskÈsklood Ëty¯ic·t˝ch v˝stavnÌ sÌnÏ.SvojipouùbymÏla zah·jitnaja¯ep¯ÌötÌho z·jem nejenN·rodnÌgaleriev Praze,aleizahraniËnÌ dÌlo dokonËits·m.TakÈproto, ûeoplastikuprojevila nabÌdky, zfinanËnÌchd˘vod˘, odstoupilo.Takserozhodl v nÏm.ZaËal narekonstrukcipracovat,alemuzeumod je öancep¯edvÈstdÌlozdneönÌho pohleduapokraËovat rekonstrukci plastiky.R·dsouhlasil,protoûecÌtil,ûeto RoubÌËka oslovilosnabÌdkou,zdabynechtÏludÏlat tohoto expon·tuvJabloneckÈmmuzeu,kterÈRenÈ forma, v˝raz varianta tÈtoinstalacepodn·zvem reprezentativnÌ v˝stavuvPraze,vzniklajeötÏrozmÏrnÏjöÌ moûnÈ ocenÏnÌv˝stavyñVelkoucenu.OrokpozdÏji,pro manifestace zanovÏvidÏnÈskloazÌskalanejvyööÌ . P¯edp˘ldruh˝mrokemsenaölyË·sti Skloñhmotañtvarñv˝raz ñ natÈtov˝stavÏdostalskl·¯sk˝ . Bylatovize,velk· Sklo ñsubstance, 27 Glass school – Valašské Meziříčí text by Mgr. Olga Hofmannov· / photos archive of school 28 school Glass painting (Lucie Petrošová). Sculpture (Jaroslav Koléšek), Dordová), (Markéta Design ofapliedarts Drawing andpainting (LeszekWojaczek), Glass moulding,drawing andetching (Petr Tichánek), Commercial glassdesign(Jiří Šuhájek), Artistic trainingisprovidedby followingartstudios: vocational branches. and craft forstudents theglassprofessions inart, a leadingcentreofglasseducation.Itprepares the in theregionMorava andSlezsko. Today theschoolis followed theneedsofdevelopment ofglassproduction undergone many changes,whichhadalways flexibly education. of former tradeandfactory The glassschoolinValašské Meziříčí follows thetraditions The schoolwas Sincethenithas founded in1944. many awards events. in different Europe. Theworks have ofrecent students alreadywon various galleries intheCzechRepublic aswell asin expositions works and teachers’ in ofboth thestudents’ Valašské Meziříčí organizesindependent andZlíndistrict, conferences and technological seminars. activities anditpresents itsresults oninternational glass GLASS CENTRUM hasalsosignificantpublication medium glassworks allover theCzech Republic. toasmallerand provides professional consultingservices and development of new glasstechnologies andit intheprojectsofresearch workplace whichparticipates glasscompanies. todifferent affiliations ofthepracticalteaching term isprovided byPart short cutting workshops, decorationsworkshop. andChristmas ensured by itsown glassworks, glasspaintingand practicaltraining,whichis School provides ahighquality The school,inco-operationwith thetown authoritiesof GLASS CENTRUM (MilanHřebíček) isatop laboratory Malov·nÌ skla (Lucie Petroöov·). Socha¯sk˝ (JaroslavKolÈöek), TvarovanÌ, malov·nÌalept·nÌ skla(PetrTich·nek), UmÏleckopr˘myslov˝ design (MarkÈta Dordov·), Kresba amalba(LeszekWojaczek), Design hutnÌhoskla(Ji¯Ìäuh·jek), přípravaUmělecká jezajišťována ve výtvarných ateliérech: v umÏleck˝ch,¯emesln˝chauËebnÌchoborech. kterÈ p¯ipravujestudentyprov˝konskl·¯sk˝chpovol·nÌ Dnes jev˝znamn˝mcentremskl·¯skÈhovzdÏl·v·nÌ, na pot¯ebyrozvojev˝robysklaMoravÏaveSlezsku. proöla mnohapromÏnami,kterÈvûdypruûnÏnavazovaly tradice d¯ÌvÏjöÌhoûivnostenskÈhoatov·rnÌhovzdÏl·v·nÌ. Skl·¯sk· ökolaveValaöskÈmMezi¯ÌËÌnavazujena äkola bylazaloûenavroce1944adosouËasnosti ocenÏnÌ. EvropÏ, pr·ceû·k˘ ökolyzÌskalyjiûmnohov˝znamn˝ch û·k˘ ipedagog˘vr˘zn˝chgaleriÌch jakv»RtakpocelÈ a dalöÌmipartnerypo¯·d·samostatnÈ v˝stavypracÌsv˝ch skl·¯sk˝ch konferencÌchatechnologick˝ch semin·¯Ìch. Ëinnost, kter·prezentujesvÈ v˝sledkynamezin·rodnÌch souË·stÌ v˝zkumnÈhost¯ediska jetakÈpublikaËnÌ a st¯ednÌmskl·rn·mpocelÈ»eskÈrepublice.V˝znamnou a skelposkytujeodbornÈporadenskÈsluûbymenöÌm projekty v˝zkumuav˝vojenov˝chskl·¯sk˝chtechnologiÌ GLASS CENTRUM(MilanH¯ebÌËek),kterÈrealizuje zajiöùov·na nast·ûÌchvr˘zn˝chskl·¯sk˝chfirm·ch. technickÈho sklaav·noËnÌchozdob.»·stpraxeje malÌrny, brusÌrnyaryteck·dÌlna,dÌlnaprov˝robu KvalitnÌ praktickoup¯ÌpravuzajiöùujeökolnÌskl·¯sk·huù, äkola vespolupr·cismÏstem, ZlÌnsk˝m krajem SouË·stÌ ökolyjeöpiËkovÈlaboratornÌpracoviötÏ 1 5 6 Miroslav Trlica 8 Heads Edita Proislov· 7 Leaf Pavel Pernick˝ 6 Goblet Gabriela Liebelov· 4—5 Vases blown intothechainmould Hana Merendov· 3 World ofInsects Michal Maöek 2 Table for Two Ond¯ej Strnadel 1 HotVase 7 8 2 34

Skl·¯sk· ökola ñ ValaöskÈ Mezi¯ÌËÌ 29 30 where to go what to see 31

“The Ilyad“ – new works by Steven Newell at the Barrat Images of Light in Glass Livio Seguso’s Sculptures at Marsden Gallery M.A.V.A, Madrid Theme of the greek mythology using technique of blown First major showing in Spain accompanied by a full etched re-heated and distorted glass expression. “Ilyad” colour catalogue with essay by Sylva Petrová, who is the setting of one of the first battles of “East and describes his subjects as “Glass – Light – Space”. The West” cultures. Steven Newell’s first exhibition in artist has incorporated into the process of the execution London in nearly 2 years. both hot (classical Venetian) and cold techniques – ÑThe Ilyadì ñ nov· dÌla Stevena Newella v galerii Barrat grinding and cutting (besides carving and engraving) is Marsden not very typical for the Venetian glass makers. Born in N·mÏt ¯eckÈ mytologie vyuûÌvajÌcÌ techniky foukanÈho, Murano into a family of Glass Masters, and living in leptanÈho, znovu ûhavenÈho a zkreslenÈho sklenÏnÈho a Gothic palace in the centre of Venice, he uses Václav Cigler: vzez¯enÌ. ÑIlyadì je souborem jednoho z prvnÌch st¯et˘ colourless glass with a touch of the neutral smoky or ÑNabÌzÌm konfrontaci skuteËnosti transformovanÈ Ñv˝chodnÌch a z·padnÌchì kultur. PrvnÌ v˝stava opaque glass and occasionally stone. A rare and “must se skuteËnostÌ p˘vodnÌ, nezkreslenou... Stevena Newella v Lond˝nÏ tÈmϯ po dvou letech. / 17- see” exhibition of the Italian artist!!! VyuûÌv·m k tomu p¯edevöÌm optick˝ch vlastnostÌ skla. 18 Gt.Sutton Street, London EC1 / Tel: 020 7336 6396 Livio Seguso ñ Objekty ñ Obrazy svÏtla ve skle v Sklo je vzruöujÌcÌ materi·l. Je pr·vÏ tak hmotou jako April 29—May 30, 2004 M.A.V.A, Madrid nehmotou. 29. dubnaó30. kvÏtna 2004 Jeho prvnÌ v˝znamn· v˝stava ve äpanÏlsku Pr·vÏ tak skuteËnÈ jako neskuteËnÈ. doprov·zen· plnÏ barevn˝m katalogem s esejÌ od Sylvy Pr·vÏ tak svÈbytnÈ, jako sebe p¯esahujÌcÌ, PAST PRESENT FUTURE by William Morris at the PetrovÈ, kter· popisuje jeho p¯edmÏty jako ÑSklo ñ a tak zpochybÚujÌcÌ naöi smyslovou zkuöenost. National Glass Centre. SvÏtlo ñ Prostorì. UmÏlec se vËlenil do procesu Sklo je navÌc snad jedin˝m materi·lem, William Morris is a celebrated American artist, his first provedenÌ obou, ûhav˝ch (klasick˝ch ben·tsk˝ch) V·clav Cigler: kter˝ je moûnÈ neust·le technologicky rozvÌjet major show in the UK bringing together 20 years of work a studen˝ch technik - brouöenÌ a ¯ez·nÌ. BrouöenÌ “I offer a confrontation of transformed reality a uzp˘sobovat tak k realizov·nÌ i tÏch in this exhibition. His works are instantly recognisable, a ¯ez·nÌ (kromÏ vy¯ez·v·nÌ a rytÌ) nenÌ p¯Ìliö typickÈ pro with the primary, not the disfigured reality... nejfantasmagoriËtÏjöÌch p¯edstav a z·mÏr˘. blown sculptures and vessels play with the imagery of ben·tskÈ skl·¯e. Narodil se v MuranÏ do skl·¯skÈ For this I use, in the first place, the optical Sklo má povahu a osud člověka.“ animals, human bones and weaponry. “Bringing together rodiny, ûijÌcÌ v gotickÈm pal·ci v centru Ben·tek. features of glass. the past, present and future together in a wealth of PouûÌv· bezbarvÈ sklo s n·dechem kou¯ovÈho nebo Glass is an exciting material. It is a matter unique colour, design and technique”. matnÈho skla a p¯ÌleûitostnÏ i k·men. OjedinÏl· dubenñkvÏten 2004 / N·rodnÌ galerie v Praze, VeletrûnÌ pal·c kur·torka Jana Hornekov· as well as a non-matter. As real as unreal. Minulost, p¯Ìtomnost, budoucnost Williama Morrise v˝stava tohoto italskÈho umÏlce, kterou si rozhodnÏ As distinctive as an extension beyond itself, v N·rodnÌm centru skla. nesmÌte nechat ujÌt! / Castillo de San Jose de Valderas, and thus casting doubt upon the experience William Morris, proslul˝ americk˝ umÏlec, se Avda. De los Castillos s/n, Alcorcon, Madrid of our senses. p¯edstavuje ve VelkÈ Brit·nii poprvÈ s tak v˝znamnou May 14—June 30, 2004 Moreover, glass is perhaps the only material p¯ehlÌdkou, kter· spojuje jeho 20-ti letou pr·ci. 14. kvÏtnaó30. Ëervna 2004 which can be technologically developed Jeho dÌla jsou ihned rozpoznateln·; foukanÈ plastiky all the time and thus adjusted for the realization a n·doby hrajÌcÌ si s obr·zky zv̯at, lidsk˝ch kostÌ BUQUOY’S GLASS IN BOHEMIA of even the most phantasmagoric images a zbranÏmi. ÑSpojujÌcÌ minulost, p¯Ìtomnost On loan from Museum of Decorative Arts (UPM), Prague. and intents. i budoucnost spoleËnÏ s bohatostÌ unik·tnÌch barev, Originating from Buquoy’s renowned family’s workshops, Glass has a human character and fate.î tvar˘ a technikì. / Liberty Way, Sunderland SR6, UK / bringing together a total of 281 glass and crystal glass www.nationalglasscentre.com pieces made between 1650 and 1851 in their first April 1—June 6, 2004 exhibition in Spain. 1. dubnaó6. Ëervna 2004 BuquoyskÈ sklo v »ech·ch

Zap˘jËenÈ z UmÏleckopr˘myslovÈho muzea v Praze. Objekty International Festival of Glass Stourbridge, England P˘vodem z BuquoyskÈ vÏhlasnÈ rodinnÈ dÌlny, spojujÌcÌ International glass artists from as far a field as Prague, celkem na 281 sklenÏn˝ch a k¯iöù·lov˝ch dÏl Venice, Budapest and the USA will converge on vytvo¯en˝ch v letech 1650 aû 1851 ñ poprvÈ na Stourbridge in the West Midlands over the August Bank v˝stavÏ ve äpanÏlsku. / Fundación Centro Nacional del Holiday weekend. From 25th to 30th August 2004 the Vidrio, Sala de Raspamento, Glass Museum Royal Glass historic glassmaking area around Stourbridge (England) Factory of La Granja (Segovia, Spain). / Tel: hosts a major new international glass festival. 921.010.700 / e-mail: [email protected]; www.fcnv.es Mezin·rodnÌ festival v Glass Stourbridge (Anglie) June 15—September 15, 2004 Skl·¯ötÌ umÏlci z tak vzd·len˝ch mÌst jako Praha, 15. Ëervnaó15. z·¯Ì 2004 Ben·tky, Budapeöù a USA budou v srpnu smϯovat na Stourbridge na West Midlands. Od 25. do 30. srpna MY EXTRAVAGANZA by Ioan Nemtoi 2004 bude historick· skl·¯sk· oblast kolem Romanian glass artist Ioan Nemtoi’s first solo show in Stourbridge (Anglie) po¯adatelem novÈho v˝znamnÈho the UK at the OXO gallery and Bargehouse at Oxo Tower Václav Cigler Objects Václav mezin·rodnÌho skl·¯skÈho festivalu. Wharf). April 2004. The exhibition continues from July 7 / Exhibition curator Jana Horneková Palace 2004 / National GalleryApril–May in Prague, Veletržní August 25—30, 2004 to March 2005 at the next location, at the newly opened 25ó30. srpna 2004 McLaren Technology Center, Woking Surrey, England. MY EXTRAVAGANZA zap˘jËen· od rumunskÈho skl·¯e International Festival of Glass & British Glass Biennale Ioana Nemtoie. Pat¯Ì k NemtoiovÏ prvnÌ sÛlovÈ v˝stavÏ Mezin·rodnÌ festival skla a BritskÈ skl·¯skÈ bien·le ve VelkÈ Brit·nii v galerii OXO a Bargehouse v Oxo (souË·st ÑBritish Glass Biennaleî) / Ruskin Glass Tower Wharf. Duben 2004. V˝stava pokraËuje od Centre, Wollaston Road, Amblecote, Stourbridge, DY8 7. Ëervence do b¯ezna 2005 na jinÈm mÌstÏ, v novÏ 4HF / Tel: +44 (0) 1384 399444 / www.ifg.org.uk / E- otev¯enÈm McLaren Technology Center, Woking mail: [email protected] Surrey, Anglie. August 27—September 18, 2004 July 14, 2004—March 2005 27. srpnaó18. z·¯Ì 2004 14. Ëervence 2004ób¯ezen 2005

Place of Meditation (cutout) steel ring diameter 6m, grinding glass / 2000ó2004 32 in the next issue…

studio glass gallery Brian Usher výstava Briana Ushera ve Studio Glass Gallery v Londýně interview Václav Cigler rozhovor s Václavem Ciglerem profile Rubikon group profil skupiny Rubikon what to see British Glass Bienale at the Ruskin Glass Centre podrobnější informace o British Glass Bienale v Ruskin Glass Centre event opening of glass museum in Bezdružice Castle otevření sklářského muzea na Bezdružickém zámku anniversary 60 years anniversary of glass school in Valašské Meziříčí 60. výročí sklářské školy ve Valšském Meziříčí

studioglass spring 2004 bilingual Czech / English

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Editorial Board RedakËnÌ rada Zafar Iqbal, Michael Robinson, Ivana Maökov·, Jill Campion

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Translation P¯eklad PhDr. VladimÌra äefranka, Jan äefranka, Lucie Vidmarov·

© Authors of Articles Auto¯i text˘ Olga Z·miöov·; Zafar Iqbal; Milan Hlaveö; Paloma Pastor Rey de Vinas; Alena Volr·bov·; Mgr. Olga Hofmannov·

© Photos Fotografie Gabriel Urb·nek; Petr Dˆrfl; Martin Pol·k; Pavel ätecha; Jan Jindra; editorial archives; archives of authors

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