{"id":180401,"date":"2026-08-15T11:33:17","date_gmt":"2026-08-15T11:33:17","guid":{"rendered":"https:\/\/www.europesays.com\/cz\/180401\/"},"modified":"2026-08-15T11:33:17","modified_gmt":"2026-08-15T11:33:17","slug":"prelstili-komunisty-jak-medek-a-koblasa-prelomove-vystavili-abstraktni-umeni","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/cz\/180401\/","title":{"rendered":"P\u0159elstili komunisty. Jak Medek a\u00a0Koblasa p\u0159elomov\u011b vystavili abstraktn\u00ed um\u011bn\u00ed"},"content":{"rendered":"

Um\u011blc\u016fm Mikul\u00e1\u0161i Medkovi a\u00a0Janu Koblasovi se v\u00a0roce 1963\u00a0poda\u0159ilo n\u011bco nev\u00eddan\u00e9ho: v\u00a0s\u00edti st\u00e1tem kontrolovan\u00fdch galeri\u00ed podl\u00e9haj\u00edc\u00edch dikt\u00e1tu socialistick\u00e9ho realismu prosadili v\u00fdstavu sv\u00e9ho, tedy abstraktn\u00edho um\u011bn\u00ed. Konala se v\u00a0Teplic\u00edch a\u00a0podle kunsthistori\u010dky Mahuleny Ne\u0161lehov\u00e9 zp\u016fsobila \u201edoslova p\u0159evrat\u201c.<\/p>\n

D\u016fle\u017eitou ud\u00e1lost nyn\u00ed p\u0159ipom\u00edn\u00e1 p\u0159ehl\u00eddka nazvan\u00e1 Z\u00e1kazu navzdory, kterou p\u0159ipravila Galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed v\u00a0Chebu ve spolupr\u00e1ci s\u00a0\u00dastavem d\u011bjin um\u011bn\u00ed Akademie v\u011bd \u010cesk\u00e9 republiky. Tato \u010d\u00e1ste\u010dn\u00e1 repr\u00edza, \u010di sp\u00ed\u0161e komentovan\u00fd \u201eremake\u201c, potrv\u00e1 v\u00a0Chebu do 20.\u00a0z\u00e1\u0159\u00ed, od \u0159\u00edjna se p\u0159esune do pra\u017esk\u00e9ho Musea Kampa.<\/p>\n

Vy\u0161el i\u00a0\u010desko-anglick\u00fd katalog, kter\u00fd p\u0159in\u00e1\u0161\u00ed nov\u00e9 studie obou um\u011blc\u016f z\u00a0pera Ne\u0161lehov\u00e9 i\u00a0histori\u010dky um\u011bn\u00ed Lenky Byd\u017eovsk\u00e9 a\u00a0tak\u00e9 p\u0159etiskuje p\u016fvodn\u00ed katalog v\u00fdstavy z\u00a0roku 1963,\u00a0v\u010detn\u011b text\u016f Medka a\u00a0Koblasy reflektuj\u00edc\u00edch svou tvorbu. P\u0159ipojuje t\u00e9\u017e dobov\u00e9 recenze,\u00a0ohlasy i\u00a0fotografickou dokumentaci p\u016fvodn\u00edho rozm\u00edst\u011bn\u00ed d\u011bl, v\u010detn\u011b n\u011bkolika sn\u00edmk\u016f z\u00a0p\u0159\u00edprav.<\/p>\n

Ne\u0161lehov\u00e1 v\u00a0publikaci vysv\u011btluje okolnosti ne\u010dekan\u00e9ho \u00fasp\u011bchu dvou ostrakizovan\u00fdch um\u011blc\u016f, jim\u017e se poda\u0159ilo z\u00edskat zcela ofici\u00e1ln\u011b v\u00fdstavn\u00ed prostor, v\u00a0\u0161ibeni\u010dn\u00edm \u010dase tam instalovat sv\u00e9 pr\u00e1ce a\u00a0je\u0161t\u011b p\u0159ipravit reprezentativn\u00ed katalog.<\/p>\n

Na jeho vyd\u00e1n\u00ed m\u011bl pod\u00edl Koblas\u016fv p\u0159\u00edtel, herec Pavel Landovsk\u00fd, jen\u017e byl v\u00a0t\u00e9 dob\u011b bez anga\u017em\u00e1. Svou energii tak mohl v\u011bnovat organizaci v\u00fdstavy. \u201eDodnes je ale ot\u00e1zkou, jak\u00fdm trikem se Pavlu Landovsk\u00e9mu tehdy poda\u0159ilo \u201ap\u0159elst\u00edt\u2018 krajsk\u00e9 dozor\u010d\u00ed tiskov\u00e9 org\u00e1ny a\u00a0doc\u00edlit vyti\u0161t\u011bn\u00ed katalogu v\u00fdstavy. Svoji roli z\u0159ejm\u011b sehr\u00e1l i\u00a0Landovsk\u00e9ho \u0161arm, odvaha a\u00a0hereck\u00fd talent,\u201c m\u00edn\u00ed Ne\u0161lehov\u00e1.<\/p>\n

Herec s\u00e1m to popsal jako sv\u016fj \u201enejv\u011bt\u0161\u00ed happening t\u00fd doby, byl jsem \u010dlov\u011bk, kter\u00fd um\u011bl d\u011blat v\u011bci na pokraji z\u00e1kona\u201c, uv\u00e1d\u00ed v\u00a0knize Lan\u010f\u00e1k z\u00a0roku 2010.\u00a0D\u00e1le popisuje, jak na sv\u00e9 motorce Jawa 150 \u201eoperoval\u201c mezi dv\u011bma tisk\u00e1rnami v\u00a0Teplic\u00edch, kde nechal vyrobit fotografie, a\u00a0v Most\u011b, kde vytiskli text. Ka\u017ed\u00e1 tisk\u00e1rna m\u011bla svou Hlavn\u00ed spr\u00e1vu tiskov\u00e9ho dozoru, jej\u00ed\u017e povolen\u00ed bylo nutn\u00e9 k\u00a0tisku. \u201eI ud\u011blal jsem \u010f\u00e1bl\u016fv trylek: v\u0161ude jsem prohl\u00e1sil, \u017ee hlavn\u00ed spr\u00e1va v\u011bc schv\u00e1lila v\u00a0tom druh\u00e9m m\u011bst\u011b. To byla drzost, hazard, kterou by si \u017e\u00e1dnej \u010dlov\u011bk, kterej cht\u011bl d\u011blat kari\u00e9ru, nedovolil. A\u00a0pro\u0161lo to.\u201c<\/p>\n

Foto: Ji\u0159\u00ed Gordon<\/p>\n

Mo\u017en\u00e1 prvn\u00ed velk\u00e1 \u010deskoslovensk\u00e1 v\u00fdstava abstraktn\u00edho um\u011bn\u00ed d\u00edky tomu prob\u00edhala ve velk\u00e9m stylu. V\u00a0reprezentativn\u00ed teplick\u00e9 s\u00edni, n\u011bkdej\u0161\u00ed z\u00e1meck\u00e9 j\u00edzd\u00e1rn\u011b, nad jej\u00edm\u017e vchodem se poda\u0159ilo vyv\u011bsit ob\u0159\u00ed panel s\u00a0podobiznami obou um\u011blc\u016f.<\/p>\n

\u017de se projekt mohl uskute\u010dnit, podle histori\u010dky um\u011bn\u00ed umo\u017enilo \u201emilostiv\u00e9 l\u00e9to\u201c. V\u00a0tomto nedlouh\u00e9m obdob\u00ed se v\u00a0\u00fa\u0159ad\u011b tajemn\u00edka \u00dast\u0159edn\u00edho v\u00fdboru Komunistick\u00e9 strany \u010ceskoslovenska, kter\u00fd m\u011bl na starosti oblast kultury, vym\u011bnili dva mu\u017ei. Ideolog Vladim\u00edr Kouck\u00fd onemocn\u011bl a\u00a0vyst\u0159\u00eddal jej na \u010das \u010cestm\u00edr C\u00edsa\u0159, tolerantn\u00ed funkcion\u00e1\u0159 s\u00a0neb\u00fdval\u00fdm kulturn\u00edm p\u0159ehledem.<\/p>\n

D\u00edky n\u011bmu um\u011blci na d\u0159\u00edve zam\u00edtnutou \u017e\u00e1dost o\u00a0povolen\u00ed v\u00fdstavy dostali p\u0159\u00edznivou odpov\u011b\u010f. Vybrali sv\u00e9 nejnov\u011bj\u0161\u00ed pr\u00e1ce, pro Mikul\u00e1\u0161e Medka \u0161lo o\u00a0v\u016fbec prvn\u00ed samostatnou v\u00fdstavu, Koblasa na tom nebyl o\u00a0mnoho l\u00e9pe, i\u00a0kdy\u017e – jak uv\u00e1d\u00ed dobov\u00fd katalog – n\u011bkolik jeho d\u011bl u\u017e v\u00a0roce 1963\u00a0vlastnily pra\u017esk\u00e1 N\u00e1rodn\u00ed galerie, amsterdamsk\u00fd Stedelijk a\u00a0muzeum v\u00a0americk\u00e9m Miami. <\/p>\n

\u201eJeho ateli\u00e9r nav\u0161t\u011bvovali sb\u011bratel\u00e9 a\u00a0galerist\u00e9, do zahrani\u010dn\u00edch sb\u00edrek se Koblasovy pr\u00e1ce dostaly na\u010derno,\u201c \u0159\u00edk\u00e1 Mahulena Ne\u0161lehov\u00e1, podle kter\u00e9 bylo od po\u0159adatel\u016f v\u00fdstavy odv\u00e1\u017en\u00e9 uve\u0159ejnit seznam zahrani\u010dn\u00edch sb\u00edrek, ve kter\u00fdch je tv\u016frce zastoupen.<\/p>\n

Odvahu prok\u00e1zalo mnoho dal\u0161\u00edch lid\u00ed. V\u00a0knize je mezi n\u011bkolika dobov\u00fdmi ohlasy z\u00a0tisku za\u0159azena pozitivn\u00ed novinov\u00e1 recenze Zde\u0148ka Felixe. \u201eKdy\u017e jsme jeho text do knihy d\u00e1vali, \u0159ekl mi, \u017ee si neum\u00edm p\u0159edstavit, jakou odvahu musel sebrat, aby se podepsal,\u201c \u0159\u00edk\u00e1 Ne\u0161lehov\u00e1.<\/p>\n

Foto: Ji\u0159\u00ed Hampl<\/p>\n

Dobov\u00e1 fotografie Ji\u0159\u00edho Hampla z\u00a0roku 1963\u00a0ukazuje impozantn\u00ed pouta\u010d nad vchodem do teplick\u00e9ho z\u00e1mku.<\/p>\n

I kdy\u017e jsou v\u00a0publikaci reprodukov\u00e1ny p\u0159edev\u0161\u00edm pozitivn\u00ed ohlasy, auto\u0159i neodolali a\u00a0otiskli tak\u00e9 jeden anonymn\u00ed p\u0159\u00edsp\u011bvek, koresponden\u010dn\u00ed l\u00edstek adresovan\u00fd veden\u00ed teplick\u00e9 galerie. Jeho ur\u00e1\u017elivost si nezad\u00e1 s \u201ehejty\u201c dne\u0161n\u00edch soci\u00e1ln\u00edch s\u00edt\u00ed, slovn\u00edk v\u0161ak vystihuje dobov\u00e9 klima: \u201ePo\u017e\u00e1d\u00e1me kulturn\u00ed sekci ONV nebo KNV, aby ud\u011blala v\u00a0tomto po\u0159\u00e1dek a\u00a0ty nedou\u010den\u00e9 \u0159emesln\u00edky pou\u010dila o\u00a0um\u011bn\u00ed. Kdy\u017e to nepom\u016f\u017ee, zavol\u00e1me si vy\u0161\u0161\u00ed in\u0161tanci.\u201c<\/p>\n

Pobou\u0159en\u011b a\u00a0dot\u010den\u011b psaly o\u00a0v\u00fdstav\u011b abstraktn\u00edho um\u011bn\u00ed tak\u00e9 n\u011bkter\u00e9 severo\u010desk\u00e9 noviny. Av\u0161ak Svaz \u010deskoslovensk\u00fdch v\u00fdtvarn\u00fdch um\u011blc\u016f se na sv\u00e9 sch\u016fzi proti propagandistick\u00fdm kritik\u00e1m vymezil a\u00a0Medka s\u00a0Koblasou nezatratil, co\u017e v\u00a0t\u00e9 dob\u011b p\u016fsobilo p\u0159evratn\u011b.<\/p>\n

N\u00e1v\u0161t\u011bvnost byla zpo\u010d\u00e1tku n\u00edzk\u00e1, po uve\u0159ejn\u011bn\u00ed nep\u0159\u00edzniv\u00e9 kritiky v\u00a0den\u00edku Sm\u011br, v\u00a0n\u00ed\u017e novin\u00e1\u0159 vin\u00ed oba autory z\u00a0pokusu o\u00a0\u0161\u00ed\u0159en\u00ed ideologie zmaru a\u00a0srovn\u00e1v\u00e1 je s\u00a0esesmany, v\u0161ak po\u010det n\u00e1v\u0161t\u011bvn\u00edk\u016f stoupl na 400\u00a0za den a\u017e do konce p\u0159ehl\u00eddky.<\/p>\n

Milostiv\u00e9 l\u00e9to brzy skon\u010dilo. Uzdraven\u00fd tajemn\u00edk se vr\u00e1til do sv\u00e9 funkce a\u00a0jin\u00e9 ne\u017e realistick\u00e9 um\u011bn\u00ed znovu vyk\u00e1zal mimo ofici\u00e1ln\u00ed z\u00f3nu. Janu Koblasovi zak\u00e1zali hned n\u00e1sleduj\u00edc\u00ed rok v\u00fdstavu v\u00a0Mlad\u00e9 Boleslavi\u00a0\u2013 t\u011bsn\u011b p\u0159ed jej\u00edm zah\u00e1jen\u00edm. Medkovi zb\u00fdvalo deset let \u017eivota a\u00a0jen n\u011bkolik let, ne\u017e se po srpnu 1968\u00a0znovu ocitl na indexu a\u00a0nesm\u011bl vystavovat.<\/p>\n

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Aktu\u00e1ln\u00ed v\u00fdstava v\u00a0Chebu se sna\u017e\u00ed o\u017eivit v\u00edce ne\u017e \u0161edes\u00e1t let starou ud\u00e1lost, p\u0159ehl\u00eddku dvou p\u0159\u00e1tel, jejich\u017e d\u00edla se pozoruhodn\u011b dopl\u0148uj\u00ed. Koblasa vystavil jak sochy, tak malby, nejsiln\u011bji se s\u00a0Medkov\u00fdmi vrstven\u00fdmi obrazy dopl\u0148uje v\u00a0t\u0159\u00edrozm\u011brn\u00e9m objektu.<\/p>\n

Teplick\u00e1 v\u00fdstava m\u011bla jasnou koncepci, s\u00a0n\u00ed\u017e pom\u00e1hala dvojice teoretik\u016f Franti\u0161ek \u0160mejkal a\u00a0V\u011bra Linhartov\u00e1. Oba um\u011blci vybrali jen nejnov\u011bj\u0161\u00ed d\u00edla, kter\u00e1 nach\u00e1zela srovn\u00e1n\u00ed s\u00a0mezin\u00e1rodn\u00ed sc\u00e9nou, a\u00a0p\u0159itom byla jedine\u010dn\u00e1, spojen\u00e1 s\u00a0osobn\u00ed zku\u0161enost\u00ed Koblasy i\u00a0Medka.<\/p>\n

Mikul\u00e1\u0161 Medek p\u0159edstavil sv\u00e9 takzvan\u00e9 preparovan\u00e9 obrazy, kter\u00e9 vytv\u00e1\u0159el nan\u00e1\u0161en\u00edm n\u011bkolika barevn\u00fdch vrstev. \u201eVn\u00edmal p\u0159\u00edmo hmotu barvy jako \u017eivou, pulzuj\u00edc\u00ed tk\u00e1\u0148, s\u00a0n\u00ed\u017e se pot\u00fdkal, kterou napadal, pror\u00fdval, upravoval dekalkov\u00e1n\u00edm, dr\u00e1sal ostrou \u0161pachtl\u00ed, no\u017eem, prsty, nehty, prom\u00edtal do jej\u00edch vrstev sv\u00e1 psychick\u00e1 hnut\u00ed a\u00a0nakonec ji ust\u00e1lil do trval\u00e9 podoby,\u201c popisuje Medk\u016fv postup Lenka Byd\u017eovsk\u00e1.<\/p>\n

Foto: Ji\u0159\u00ed Gordon<\/p>\n

Galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed v\u00a0Chebu revokuje v\u00fdznamnou v\u00fdstavu z\u00a0roku 1963.\u00a0Stejn\u011b jako tehdy ukazuje modr\u00e9 pl\u00e1tno Mikul\u00e1\u0161e Medka nazvan\u00e9 Instalace 21,870\u00a0Somnambulnich a\u00a0okolo sochy Jana Koblasy. V\u00a0pop\u0159ed\u00ed je s\u00e9rie jeho Kr\u00e1l\u016f.<\/p>\n

Obsahem t\u011bchto maleb je podle um\u011blce \u201epsychick\u00e1 ud\u00e1lost jako permanentn\u00ed aktivn\u00ed tok existence\u201c. Mikul\u00e1\u0161 Medek to v\u00a0p\u016fvodn\u00edm katalogu je\u0161t\u011b rozeb\u00edr\u00e1: \u201eObraz je tedy jakousi citlivou plochou, p\u0159es kterou se p\u0159ehnala tato ud\u00e1lost a\u00a0pokra\u010duj\u00edc v\u00a0procesu, pohybu, zanechala za sebou p\u0159edm\u011btnou zpr\u00e1vu o\u00a0sv\u00e9 existenci v\u00a0soustav\u011b stop a\u00a0otisk\u016f.\u201c<\/p>\n

Uhran\u010div\u00e1 pl\u00e1tna \u010dlov\u011bka vt\u00e1hnou, m\u016f\u017ee m\u00edt pocit, \u017ee je sv\u011bdkem pohybu vesm\u00edrn\u00fdch t\u011bles, nebo naopak, \u017ee se propad\u00e1 do sv\u011bta mikroskopick\u00fdch \u010d\u00e1stic.<\/p>\n

Podobn\u011b expresivn\u00ed a\u00a0sou\u010dasn\u011b existenci\u00e1ln\u00ed je tvorba Jana Koblasy. Vedle zachmu\u0159en\u00fdch, zemit\u00fdch obraz\u016f tvo\u0159\u00ed \u0161t\u00edhl\u00e9, na d\u0159e\u0148 opracovan\u00e9 n\u00e1znaky figur, kovov\u00e9 odlitky nebo opracovan\u00e9 kusy d\u0159eva.<\/p>\n

Podle Mahuleny Ne\u0161lehov\u00e9 se Koblasa sna\u017eil \u201evydat v\u0161emi dostupn\u00fdmi prost\u0159edky sv\u011bdectv\u00ed o\u00a0utrpen\u00ed, o\u00a0stavu \u201amordovan\u00e9 du\u0161e\u2018\u201c. Inspiraci pr\u00fd \u010derpal z\u00a0vlastn\u00ed duchovn\u00ed vroucnosti, z\u00a0figur\u00e1ln\u00edho k\u00e1nonu \u010desk\u00e9 gotiky i\u00a0dramati\u010dnosti barokn\u00edch soch, stejn\u011b jako z\u00a0majest\u00e1tn\u00edho symbolismu Franti\u0161ka B\u00edlka.<\/p>\n

Oba um\u011blci si byli v\u011bdomi pon\u011bkud chmurn\u00e9ho vyzn\u011bn\u00ed sv\u00fdch prac\u00ed a\u00a0zejm\u00e9na Medek se sna\u017eil \u010delit patosu ironick\u00fdmi n\u00e1zvy. Z\u00e1znamy na popisk\u00e1ch vedle obraz\u016f p\u016fsob\u00ed odleh\u010den\u011b, vystupuje tu Rozko\u0161n\u00fd mlad\u00fd mu\u017e na \u00fat\u011bku, Chechtav\u00fd \u0161achista nebo Romantick\u00fd str\u00fdc Karel.<\/p>\n

Foto: Ji\u0159\u00ed Gordon<\/p>\n

V\u00fdstava p\u0159ipom\u00edn\u00e1 p\u0159ehl\u00eddku dvou p\u0159\u00e1tel, kte\u0159\u00ed roku 1963\u00a0v\u00a0Teplic\u00edch kr\u00e1tce sm\u011bli vystavit abstraktn\u00ed um\u011bn\u00ed.<\/p>\n

Chebsk\u00e1 repr\u00edza p\u0159edstavuje n\u011bkolik p\u0159esn\u00fdch citac\u00ed v\u00fdstavy z\u00a0Teplic, v\u010detn\u011b podobn\u00e9 instalace d\u011bl. Mnoho z\u00a0nich ale nebylo mo\u017en\u00e9 dohledat \u010di zap\u016fj\u010dit, v\u00a0takov\u00fdch p\u0159\u00edpadech po\u0159adatel\u00e9 nahradili p\u016fvodn\u011b vystaven\u00e9 pr\u00e1ce podobn\u00fdmi. Zejm\u00e9na Koblasovy sochy se po jeho emigraci v\u00a0roce 1969\u00a0staly nezv\u011bstn\u00e9. \u201eBohu\u017eel n\u00e1m nebylo d\u00e1no, abychom po tolika letech nalezli a\u00a0z\u00edskali v\u0161echny tehdy vystaven\u00e1 d\u00edla z\u00a0pov\u011bstn\u00e9 \u0159ady jeho legend\u00e1rn\u00edch Kr\u00e1l\u016f a\u00a0kr\u00e1loven; nahrazujeme je proto adekv\u00e1tn\u00edmi, rovn\u011b\u017e velice pozoruhodn\u00fdmi pracemi,\u201c uv\u00e1d\u00ed Ne\u0161lehov\u00e1.<\/p>\n

Naopak p\u016fvodn\u011b vystavenou Koblasovu sochu Velk\u00fd z\u00e1zrak nemuseli organiz\u00e1to\u0159i hledat, pat\u0159\u00ed do sb\u00edrky chebsk\u00e9 galerie. Pr\u00e1v\u011b toto d\u00edlo se stalo jedn\u00edm z\u00a0impulz\u016f, pro\u010d se zdej\u0161\u00ed instituce do projektu, na jeho\u017e konci je aktu\u00e1ln\u00ed v\u00fdstava, pustila. <\/p>\n

Galerii v\u00fdtvarn\u00e9ho um\u011bn\u00ed v\u00a0Chebu slou\u017eila ve\u0159ejnosti teprve sedm let, kdy\u017e do jej\u00ed sb\u00edrky Velk\u00fd z\u00e1zrak p\u0159ibyl. Stalo se tak v\u00a0roce 1969\u00a0a\u00a0instituce jej zakoupila od otce Jana Koblasy. Autor u\u00a0akvizice nebyl, proto\u017ee v\u00a0t\u00e9 dob\u011b emigroval.<\/p>\n

\u201eJe dokonce mo\u017en\u00e9, \u017ee \u0161lo o\u00a0koordinovanou akci, kdy galerii a\u00a0nejsp\u00ed\u0161 i\u00a0ministerstvu kultury muselo b\u00fdt jasn\u00e9, \u017ee jde o\u00a0d\u00edla um\u011blc\u016f, kte\u0159\u00ed u\u017e jsou nejsp\u00ed\u0161 v\u00a0emigraci,\u201c p\u00ed\u0161e v\u00a0\u00favodn\u00edm slovu katalogu sou\u010dasn\u00fd \u0161\u00e9f galerie Marcel Fi\u0161er.<\/p>\n

Nestandardn\u00ed okolnosti n\u00e1kupu p\u0159inesly n\u011bkolik omyl\u016f, v\u00a0prvn\u00ed \u0159ad\u011b byl myln\u011b datov\u00e1n vznik Velk\u00e9ho z\u00e1zraku pr\u00e1v\u011b a\u017e rokem 1969.\u00a0Socha prakticky cel\u00e9 obdob\u00ed takzvan\u00e9 normalizace tr\u010dela v\u00a0depozit\u00e1\u0159i, teprve po roce 1989\u00a0se stala sou\u010d\u00e1st\u00ed st\u00e1l\u00e9 expozice.<\/p>\n

<\/a><\/p>\n

Na dal\u0161\u00ed omyl se p\u0159i\u0161lo v\u00a0roce 2023.\u00a0Tehdy teplick\u00e1 galerie jako p\u0159ipom\u00ednku 60.\u00a0v\u00fdro\u010d\u00ed v\u00fdznamn\u00e9 v\u00fdstavy vydala vzpom\u00ednkov\u00fd text s\u00a0dobov\u00fdm sn\u00edmkem, ze kter\u00e9ho vyplynulo, \u017ee v\u00a0Chebu prezentuj\u00ed sochu Velk\u00fd z\u00e1zrak cel\u00e9 roky obr\u00e1cen\u011b. \u201eNa na\u0161i omluvu je t\u0159eba \u0159\u00edci, \u017ee jej\u00ed orientace nen\u00ed v\u016fbec jednozna\u010dn\u00e1 a\u00a0k omylu sv\u00e1d\u011bla skute\u010dnost, \u017ee z\u00e1da sochy jsou zejm\u00e9na ve spodn\u00ed \u010d\u00e1sti v\u00fdrazn\u011b propracovan\u011bj\u0161\u00ed ne\u017e jej\u00ed \u010deln\u00ed strana,\u201c uv\u00e1d\u00ed Fi\u0161er v\u00a0katalogu.<\/p>\n

Krom\u011b n\u00e1le\u017eit\u00e9 p\u0159\u00edle\u017eitosti vystavit Velk\u00fd z\u00e1zrak spr\u00e1vn\u011b se d\u016fvodem k\u00a0uspo\u0159\u00e1d\u00e1n\u00ed \u201eremaku\u201c teplick\u00e9 v\u00fdstavy stal objev dobov\u00e9 fotodokumentace Ji\u0159\u00edho Hampla. Jeho sn\u00edmky ukazuj\u00ed p\u0159esn\u00e9 rozm\u00edst\u011bn\u00ed d\u011bl. P\u0159ehl\u00eddka Z\u00e1kazu navzdory, kter\u00e1 i\u00a0d\u00edky doprovodn\u00e9 publikaci vypl\u0148uje jednu kapitolu \u010desk\u00e9 historie um\u011bn\u00ed 20.\u00a0stolet\u00ed, z\u00e1rove\u0148 p\u0159ipom\u00edn\u00e1 v\u00fdro\u010d\u00ed 100\u00a0let od narozen\u00ed Mikul\u00e1\u0161e Medka.<\/p>\n

V\u00fdstava: Z\u00e1kazu navzdory\u00a0\u2013 V\u00fdstava Mikul\u00e1\u0161e Medka a\u00a0Jana Koblasy v\u00a0Teplic\u00edch roku 1963<\/p>\n

Galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed v\u00a0Chebu, do 20.\u00a0z\u00e1\u0159\u00ed 2026, repr\u00edza bude od 3.\u00a0\u0159\u00edjna do 17.\u00a0ledna 2027\u00a0v\u00a0pra\u017esk\u00e9m Museu Kampa.<\/p>\n","protected":false},"excerpt":{"rendered":"Um\u011blc\u016fm Mikul\u00e1\u0161i Medkovi a\u00a0Janu Koblasovi se v\u00a0roce 1963\u00a0poda\u0159ilo n\u011bco nev\u00eddan\u00e9ho: v\u00a0s\u00edti st\u00e1tem kontrolovan\u00fdch galeri\u00ed podl\u00e9haj\u00edc\u00edch dikt\u00e1tu socialistick\u00e9ho realismu…\n","protected":false},"author":2,"featured_media":180402,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","_share_on_mastodon":"0"},"categories":[14],"tags":[79,43082,43081,43080,91,1450,80],"class_list":["post-180401","post","type-post","status-publish","format-standard","has-post-thumbnail","category-zabava","tag-entertainment","tag-galerie-vytvarneho-umeni-v-chebu","tag-jan-koblasa","tag-mikulas-medek","tag-vystavy","tag-vytvarne-umeni","tag-zabava"],"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@cz\/117099312456866116","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/posts\/180401","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/comments?post=180401"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/posts\/180401\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/media\/180402"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/media?parent=180401"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/categories?post=180401"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/tags?post=180401"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}