- 6 weeks ago
Snímek navazuje na výstavní projekt Signál IV: Osmdesátky z roku 2024, který v Telegraph Gallery představil výběr děl neoficiálního proudu ze Sbírky Roberta Runtáka. Film skládá živou mozaiku osobních příběhů výtvarníků, kurátorů i majitele sbírky a zároveň odkrývá, jak tehdejší vzdor a touha po svobodné tvorbě formovaly novou vizuální citlivost, která v kontextu české kultury rezonuje dodnes.
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CreativityTranscript
00:28You
00:30You
01:08You
01:30You
01:30You
01:30You
01:32You
01:35You
01:39I
01:40I
01:40I
01:41I
01:41I
01:41I
01:41I
01:41I
01:41It was 1976, so I went to school and played football.
01:50I started to learn English, which wasn't really easy.
01:55I used good childhood in the post-socialist environment.
02:01I wanted to make this film grow, because the age of 80 in Czech and in Slovenia
02:09is not enough, not enough, not enough, not enough, not enough, not enough.
02:15So I would be very happy, if we were to make this film a little better.
02:35The name was created for about 6 years ago, when we thought about how to implement
02:42the collection of Roberta Runtáka to a separate project, Telegraph Gallery.
02:48And it came to us that the collection is already so big,
02:52that it can legally send certain themes,
02:55the theme and overall, from outside.
02:59There are a lot of things in this collection, and it is very important,
03:03or at least from my opinion, to see the things.
03:07And so it was a hybrid format, that yes, the gallery will be the same,
03:13but there will be a space for the collection.
03:21The Signals 4 exhibition is the second one from the 90s.
03:25It is the biggest exhibition, which is dedicated to the 80s.
03:28And even if it is from the current exhibition,
03:32I think that it has a sense of respect,
03:37that it can show some links,
03:39that it can show some links,
03:41that it can show some of the elements,
03:42what was in the time.
03:45The exhibition of Roberta Runtáka
03:47is created from the beginning of the 21st century.
03:50In the 80s, in the 80s,
03:54in the 80s,
03:55between the 1979-1991,
03:59it was roughly 230 parts of different generations of authors.
04:06It is a time that I personally
04:08very much interested.
04:10It is very interesting to me,
04:10that there are two generations together.
04:13There are two generations together.
04:14They are still together at a very high level of power.
04:17the generation that came to the scene
04:21in the second half of the 60s.
04:23And then,
04:24it is like the generation
04:27of the most young authors,
04:2925 to 35-year-old,
04:32who once again
04:33it is called the word.
04:48In the 80s,
04:49when I started to be interested
04:52in the second half of the 80s,
04:54I started to say
04:57that the most young authors
04:57were the most young authors.
04:58In the 80s,
04:58Because the feeling in the stories,
05:01in the stories,
05:02is completely different than the previous ones.
05:11In the 60s,
05:12the contact between our own
05:14and the Westerns
05:15was the most older.
05:16They were performing
05:17and playing,
05:19they played,
05:19they played,
05:19they were the Japanese.
05:20It was in the early morning,
05:24and the end of the 70s
05:26came to a normalisation
05:27and the contacts
05:28were severely damaged.
05:31What happened
05:32from the conversation
05:33with the artists,
05:34the tens of them
05:35were really
05:37much more depressed,
05:39much more
05:39more depressed.
05:41It worked so
05:42that someone
05:43took a copy,
05:44but the artists
05:45In the 70s, there was no one in the 70s.
05:49Those who passed into our community,
05:53into our art and culture,
05:55western, distributed,
05:57small-mešťátské, mešťátské influence,
05:59they say that it is worse,
06:01because we will not be able to do it.
06:11The authors,
06:12who had a great place in the 80s,
06:16Jirina Čeracký, Michal Richstein,
06:18Otak Arslavík,
06:20they were fully able to do this event,
06:25but they had to look at it.
06:28They had to look at it.
06:29They had to look at it.
06:30The time was not much more difficult than today,
06:33but on the other hand,
06:35it was, at least for me,
06:36a great opportunity to focus on the idea.
06:40For me, it is a time,
06:42when the art of the art of the official structures
06:48is transferred,
06:49it is often used in places,
06:51or places that are not primarily
06:54for the art of the art of the art of the art of the art of the art of the
06:59art.
07:04The art of the art of the art of the art of the art of the art of the art
07:07of the art of the art of the art of the art of the art of the art of the
07:08art of the art of the art of the art of the art of the art of the art of
07:08the art of the art of the art of the art of the art of the art of the art
07:08of the art of the art of the art of the art of the art of the art of the
07:08art of the art of the art of the art of the art of the art of the art of
07:09the art of the art of the art of the art of the art of the art of the art
07:13of the art of the art of the art of the art of the art of the art of the
07:15art of the art of the art of the art of the art of the art of the art of
07:15the art of the art of the art of the art of the art of the art of the art
07:16of the art of the art of the art of the art of the art of the art of the
07:23art
07:27It was a little different, I just went to the street and felt that something was already different.
07:34I felt that the time was just a bit different.
07:42A lot of artists couldn't be able to perform,
07:46but they found out how to present at least in a large circle of their famous people.
07:55So, they began to appear not official.
08:16We didn't have to paint the same thing in the studio.
08:18There were some issues that were made,
08:20whether we had a painting or something like that.
08:25Or maybe one act should be able to do it.
08:28I had to paint every year with each other.
08:31So I just painted one picture.
08:34At the end of the class, the head of the cathedral, Jiroudek,
08:40meant to classify a student, because he had a picture of him from home
08:44and he didn't have a painting in school.
08:46So he was able to draw him from home, and then he was able to do it.
08:52When we saw it, we said, this is not normal.
08:56When we talked about it, we realized that a lot of people
08:59do things in school, they have a painting in school.
09:01And then we said, where to show it?
09:04When I was in school, I was against the fact that we showed it.
09:07It was an official, it was an official,
09:09today we had a pop-up action that lasted a few days
09:14and we could see it at least a few of the participants.
09:18We started thinking about it,
09:20that we could do the exhibition in places like the graphic,
09:25where inside of the block was a small space,
09:28which was located in the house, where Jiroudek had the hotel.
09:32So he took the party, if not it was,
09:35that at the weekend there would be a couple of people
09:37to look at the pictures,
09:39which we had there.
09:40Nobody had nothing against it.
09:42And so the first confrontation was the first one.
09:44They called them the artists,
09:47with whom they were talking about
09:48and whom they had some kind of work
09:50on the human base.
09:54They are beautiful.
09:55Yes, yes.
09:56The balcony didn't we use then?
09:58No, no, no.
10:00No.
10:01No, no, no.
10:01No, no.
10:02No, no, no.
10:02That was totally the most of you.
10:04I was just sitting there.
10:06Well, there were already the projects in the house,
10:07so the questions here.
10:24Yeah, well.
10:26Yes.
10:26So...
10:27Yes.
10:27Yes.
10:27We were here at 41 years.
10:3041 years ago, we were here last year.
10:34There were no signs of the house?
10:35No signs of the house.
10:37There were no signs of the house.
10:39There were no signs of the house.
10:41I think I don't remember.
10:42I think that there were no signs of the house.
10:46There were no signs of Pepe Pluhare.
10:50And Maria Kotrby.
10:52I think that's fine.
10:53But I don't remember everything, where it was.
10:57But in terms of the photos exist...
10:59I know, I was there.
11:01And you were there.
11:01I was there.
11:03So I was already there.
11:04I was already there.
11:05I don't know any pictures of the pictures.
11:08Because it's completely different.
11:10I didn't know any pictures.
11:11But I don't know any pictures.
11:14I don't know anything.
11:15I didn't know anything.
11:15I was like, no, no, no.
11:25I didn't know anything.
11:28I didn't know anything.
11:30I didn't know any pictures.
11:42but the event was really big.
11:45There were some theorists like Chef Číkovi and other people.
11:48And so this whole thing came out.
12:04I had a camera for his dad's 8,
12:07so there were some films there.
12:08There were a lot of films there.
12:09It was a black and white.
12:12But today it was a very interesting thing.
12:17Authentic.
12:18Authentic, of course.
12:19It's wonderful,
12:20that they had some materials.
12:22At the end of the day,
12:23the installation has to focus on,
12:27how they were attached to the exhibition.
12:29And some pictures,
12:30which we see here,
12:32were part of authentic authentic confrontations.
12:38It was an unbelievable action.
12:41I started to prepare
12:43the Mikulášské
12:44and then the Fialkové
12:45jarní slavnost,
12:46which was made in the New Gallery,
12:48and then even in the Hotel Tichy
12:49in Žižkově,
12:50where there were thousands of people
12:53and there were music there.
12:54Práha, Půlnoz,
12:55beautiful people.
12:56No, but thank you,
12:56it was really true.
12:58No, no, no, no, no.
13:03...
13:18The beginning of the 1980s was completely different, because it was the deepest part of the regime of repressions.
13:39The performance in the Czechs was an illegal form, so the paragraph was very useful and I also experienced it
13:52on my skin, so I was very excited.
13:56I was very excited because of the presentation, and there was a scene in which a laser-like paper was
14:04displayed in a lot of sand, and it was the beginning of the presentation.
14:09and I was able to get rid of it, but with the awareness that it was risky in the public,
14:15it was just the laser tape, so there was nothing to see.
14:19So at the court, when I asked the lady if she saw my natural life,
14:24she said that she was very happy, that she was like a young man,
14:28and that she didn't see anything.
14:30So it had to be a fun moment.
14:36What was the relationship with our confrontation?
14:39the un-officials, like Scrapple Yon.
14:46Margita Tifl.
14:47Margita Tifl.
14:49Margita Tifl, exactly like that.
14:57The 80s was very specific in that,
15:01that in my generation, there was a huge energy,
15:06to be able to change the time to change,
15:08to be able to do something to do.
15:09The time around us was a shadow,
15:12and the darkness, the darkness,
15:13and the sense of the feeling of anything,
15:17it was a desire to do something to do something,
15:20to do something to do something,
15:22to do something to do something.
15:23Before we were in the house,
15:25the village was also there,
15:26which was then spread out.
15:29It was a huge exhibition where
15:30in the outside space,
15:33the village in Mutiovic,
15:35we were there to be a installation of the village.
15:39The police learned,
15:41that the village of the village was there,
15:44and the whole village was destroyed.
15:47We started to burn out all the village.
15:53and it was a total disaster.
15:57Then there were also some small-strand doors,
15:59which were closed,
16:01but it was still there,
16:02because sometimes the installations,
16:04which were behind the doors,
16:05were liquidated.
16:07It was not constantly.
16:09All the events,
16:10which were done in some way,
16:12or the actions,
16:14did everything somehow
16:15that it was refused,
16:18or the police arrived,
16:19or decided.
16:21In Czechs,
16:23there was nothing like that before.
16:25Since 1983,
16:28I went to perform at the Polish festival,
16:30and there was a lot more than here.
16:33In other words,
16:34we also met there,
16:38and we opened the black market,
16:41which was in the second half of the 80s.
16:44I was a part of it.
16:56I was working on such huge doors,
16:59I worked on them at home,
17:01and it was a whole world inside,
17:04which was extremely powerful for some energy,
17:07for some God,
17:08for some huge changes.
17:09Because I had great friends and friends,
17:13so the architect Halatov said to me,
17:17that I could make things
17:18be able to build
17:19in the Vyhořelém Veletršním Paláci,
17:21and she spoke about the big exhibition
17:23with Mr. Stavby,
17:25who made for the exhibition
17:27special huge walls,
17:30which were totally white,
17:31and there was a lot of trees in the area,
17:31and on the wall,
17:31I just put that in the area of your actual service.
17:33When we installed it,
17:35it started to enable the exhibition itself.
17:40That there was a second half of the exhibition
17:41to install it.
17:42And since the building is in the center of the Praha,
17:45it wasn't a problem,
17:47to be able to meet the friends.
17:49This was completely damaged on the roof,
17:52there areima cord,
17:55there were the verification and didn't work in black,
17:56and certainly in the light.
17:58And there was an Salvation
17:59and between them was the exhibition.
18:03They were there, and they didn't know what was going on.
18:07In 1986, I was on the European tourney
18:13and it was due to the fact that they believed me
18:15that I would stay there, that I would stay there,
18:17and then I was back.
18:19So then the time came to the end,
18:22I couldn't get out of the way.
18:25I got the passage in the 1980s,
18:30in the 1990s,
18:32after the Soviet Revolution.
18:35The exhibition lasted for three days.
18:37I was then invited to the exhibition,
18:40what is called,
18:42to the exhibition.
18:44It was interesting,
18:45because there were two of them,
18:47who listened to me.
18:49One was good,
18:50and the other one was bad.
18:51It was already after the academy,
18:53even when I did this exhibition.
18:54So I didn't have any remarkable
18:57performance.
18:58I couldn't do the exhibition.
19:00I was restored,
19:01I lived in the restaurant,
19:03and they couldn't be able to close.
19:06I couldn't do it.
19:10I couldn't do it.
19:12I couldn't do it.
19:16I couldn't do it.
19:17The regime was still very rigid.
19:19We were still in comparison
19:20with other states in the Western Europe.
19:23It was quite bad on it.
19:24But it was evident,
19:27that from 1984 to 1985,
19:29the regime was not able to block
19:31everything,
19:32to ban and censorize.
19:33And there were various interesting places,
19:37where the power of the art
19:40started to shoot on the ground.
19:48Me and my husband
19:49had friends,
19:51Karla Babička.
19:52His wife also helped us
19:54to talk about
19:57that we could build the gallery.
19:58I was not able to get the scene
20:00to get the scene
20:00on the 90s,
20:04when there was a gallery
20:07with MX and BMO.
20:10I had no experience before
20:12before me.
20:12I Karel,
20:13who started to do the work,
20:14it was like
20:17on the yellow table.
20:18Everything will be
20:19with the amount of money.
20:20And with the money.
20:21I was impressed as a producer and curator in the competition.
20:30There was no market, no one didn't buy it,
20:32or maybe someone came from the West to buy some things.
20:37The gallery was also a place where we didn't have to ask anyone,
20:41to make an exhibition.
20:43But we had to do some projects ourselves.
20:46We had to work with Kunsthistorikers,
20:48who had the same thinking as we were,
20:50and it was very important in the gallery.
21:00The 1980s were unbelievably rich,
21:03filled with an unbelievable amount of actions and activities,
21:09where the communist regime, paradoxically,
21:12was the goal of the fact that the regime was working
21:16on the scene.
21:19In 1987, a group of Thvrdohlaví
21:24The Thvrdohlaví are used as the Absolventum Mumprum,
21:27as well as the Amu.
21:28Most of them I met in 1983,
21:31that is, four years before the construction of Thvrdohlaví,
21:33which was an action in Hotaru Tichy.
21:36The hotel started in a relatively small business.
21:38They were all young artists,
21:41who already had a certain capacity
21:44which was mainly in order for the confrontation.
21:48The people ended up school.
21:50Nobody knew who will be successful,
21:52what will happen.
21:53Ten people, including the production,
21:55completely all managed.
21:57That's not normal.
22:02I came to that whole,
22:04as the last one as well.
22:06When the city Jardá Roan
22:08told me to all the people,
22:11that the authority of the existence of the authority of this,
22:15that he was able to build things
22:17as a human being,
22:18for the rest,
22:20to be able to establish a circle.
22:22It was very important to have a group of similar characters, such as Tonda Střížek, Tomáš Císařovský, Daniel Balaman, Jíří
22:36Kovanda, Jan Pištěk, Martin Mayner,
22:41who created such a young, aspiring generation of a slightly different perspective and different skills, especially in Malby.
22:54The group was founded on 6.12.1987 in Slováckém Salonku Obecního Domu.
23:00Frantá Skála, who played on the keyboard, marked the logo of Tvrdohlaví, the handgun, the handguns, the handguns, the handguns,
23:09the handguns.
23:11When we founded the group, and it was also in Archivu, I wrote to Mánesa on the CV of Czech
23:19artists.
23:21I wrote to them that the group of Tvrdohlaví, like a .
23:29Tvrdohlaví byli tím prvním skupením, který prorazilo totalitní systém.
23:37To znamená přešlo přes ten kruníř, který bylo umění zakloupeno a vystavilo umění, který i s odstupem dneska 30 let,
23:4940 let,
23:50tak je aktuální, je živé, je mimořádně kvalitní.
23:58Zakládání skupin bylo zakázáno.
24:01Neptal jsem se v tom dopise na nějaké dovolení.
24:04Já si jenom chtěl soudrově trošku nasrat.
24:06Žádná odpověď nepřišla.
24:08Já jsem teda myslel, že průl k nějakému výslechu, ale ani to se nestalo.
24:11To bylo jako Euro 87 a už se ten režim začal opravdu klížet, což tenkrát jsme se vůbec nevědomovali.
24:17No, ale díky vlastně tomu všemu ještě ten samý rok prosence proběhla úplně první místava Trdohlaví.
24:23A vědomě v Vysočanech.
24:25Vlastně ten jediný volný termín tam mít je přes Vánoce.
24:29A bylo to jenom pár dnů.
24:30Ta výstava trvala sedm dnů, jestli si dobře pamatuju.
24:32A jako i ty soudruzy, co to někde museli schválovat na tom městském úřadě na Praze,
24:38bo jsem říkal, tak dobře, jak se tam vystavit přes Vánoce, tak se nikdo nepřijde.
24:41Místava Trdohlaví ve Vysočanech byla bomba.
24:46Když jste nebo nevěřte, že ten obrovský prostor, tak nevrneš nás, že bylo dva tisíce lidí. Dva tisíce.
24:53Najednou se tady objevili autoři nadupaný teorií, skvěle připravený řemeslně.
25:02A chtěli něco dokázat.
25:05Jako skupina nebo lidi ze skupiny nikdy neměli ambici vytvářet nějaký manifest,
25:11nebo nějakým způsobem ujednocovat vyznění tvorby.
25:16Tam bylo jako od začátku naprosto jasný, že tam sedí devět absolutně různorodých osobností,
25:24kdy každý z nich je úplně jiný s úplně jiným stylem a druhém tvorby.
25:31A to na tom vlastně bylo to něco naprosto úžasného popravně řečeno.
25:37A stal se vždycky takový záhrak, že byť každý pes jiná vez dobrý míněno,
25:43tak přesto se to jakýmsi podivným způsobem vlastně ta instalace doplňovala jako v tom,
25:52že to prostě spolu ty věci vedle sebe fungovaly.
25:55I když bych teda opravdu nikomu nepřál,
25:57jako instalovat jako výstavu s hodnohlavými teda.
26:01To jako bych fakt nikomu nepřál teda.
26:03To úplně řečeno.
26:05To chtělo silné nervy.
26:16Ta osmdesátá léta, tak jak je chceme zachytit,
26:20nebo v podstatě tak, jak je vlastně zachycuje i sbírka Roberta Runtáka v Telegrafu,
26:25je trošku o ničem jiném a je to o té v podstatě pozoruhodné komplexnosti,
26:30protože když se o osmdesátých letech nějakým takovým,
26:34jako můžeme říct, povrchním způsobem s někým bavíte,
26:37tak v podstatě na ty tvrdohlave se to stočí okamžitě,
26:40protože ty osobnosti byly dominantní, řada z nich je dominantních a zajímavých
26:44a vlastně nosných pro tu poučenou veřejnost dodnes,
26:49ale zkusme to desetiletí fakt chápat jako komplexně.
26:52Každý jsme prožívali v jiný čas jiné věci.
26:56Já jsem prožíval to úplně opačně, že ta druhá půle osmdesátých let,
26:59která pro ostatní znamenala jako možnosti vystavovat veřejně atd.,
27:05tak pro mě znamenala vlastně velmi limitovaný možnosti.
27:09Vlastně ten venek sice existoval, byl šedivej, byl negativní,
27:13ale vlastně to, jak jsem já prošivala tu dobu, bylo docela silný a autentický.
27:18Ale ta osmdesátá leta nebyla zdaleka jenom o výtvarném umění
27:22nebo co se dělo na polově výtvarného umění.
27:25Ty osmdesátky byly něco v české kultuře jako byla šedesátá leta nebo byla třicátá leta.
27:30V těch osmdesátých letech se na FAMO sešla strašně slená generace filmařů,
27:36velice nápaditých, velice kreativních, snaduřitelně tvůrčích.
27:40Týká se to celé hudební scény, jaké kapely vznikaly v těch osmdesátých letech.
27:45Týká se to vlastně částečně i architektury.
27:49Ještě jsem zapomněl na Herce.
27:51Takže já mluvím vlastně o generaci, o umělecký generaci.
27:54To je jakoby vlastně závrak.
28:00Osmdesáté leta je pro nás určitá příležitost.
28:04Dívat se na zajímavé období, zkusit ho fakt jako uchopit,
28:09udělat si z něho takové, to trošku zromantizuju, druhé šedesáté leta v něčem
28:13a věnovat mu tu pozornost, věnovat mu ten čas,
28:17věnovat mu tu sílu, tu energii,
28:19ale obecně si trošku více navzájem jako přát
28:22a říct si, že ne všecko bylo jenom tak, jak tomu Češi máme špatné,
28:29a ne všecko jsme někde prostě viděli
28:31a podívat se na to způsobem, který nám tady jako vůbec se společností často chybí,
28:37takovým nějak zdravě kritickým,
28:40ale způsobem kdysi aspoň trošku jako přejem navzájem,
28:43protože když si nebudeme přádný, nikdo jiný cizí nám nikdy přát nebude.
28:57Když si to bude s ním možná blbě nebo jako sebevědomě,
29:00ale ten takový zastřešující dojem pro mě je,
29:05že ta kolekce těch uměleckých děl z 80. let v mé sbírce,
29:13že mě prostě, nevím si to blbě, ale že je to dobrá.
29:17Že pamitlu.
30:09Titulky vytvořil Jirka Kováč