{"id":53079,"date":"2026-04-12T22:07:11","date_gmt":"2026-04-12T22:07:11","guid":{"rendered":"https:\/\/www.europesays.com\/cz\/53079\/"},"modified":"2026-04-12T22:07:11","modified_gmt":"2026-04-12T22:07:11","slug":"narodni-galerie-praha-slavi-230-let-vystavy-propojuji-historii-s-generaci-z-a-jirim-kolarem","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/cz\/53079\/","title":{"rendered":"N\u00e1rodn\u00ed galerie Praha slav\u00ed 230 let. V\u00fdstavy propojuj\u00ed historii s generac\u00ed Z a Ji\u0159\u00edm Kol\u00e1\u0159em"},"content":{"rendered":"

Jarn\u00ed program N\u00e1rodn\u00ed galerie Praha p\u0159in\u00e1\u0161\u00ed mimo\u0159\u00e1dn\u00fd pohled na jej\u00ed historii i sou\u010dasnost. Nov\u00e9 v\u00fdstavy ve Veletr\u017en\u00edm pal\u00e1ci propojuj\u00ed v\u00edce ne\u017e dv\u011b stolet\u00ed um\u011bn\u00ed s nejmlad\u0161\u00ed generac\u00ed tv\u016frc\u016f a p\u0159ipom\u00ednaj\u00ed i siln\u00e9 momenty \u010desk\u00e9ho um\u011bn\u00ed ve sv\u011bt\u011b.<\/p>\n

N\u00e1rodn\u00ed galerie Praha vstupuje do roku 2026 ve velk\u00e9m stylu. Jarn\u00ed Opening ve Veletr\u017en\u00edm pal\u00e1ci nab\u00edz\u00ed komplexn\u00ed pohled na jej\u00ed v\u00edce ne\u017e dvousetletou historii i sou\u010dasnou podobu um\u011bn\u00ed. Kl\u00ed\u010dov\u00fdm projektem je v\u00fdstava NGP 230 let, kter\u00e1 p\u0159ipom\u00edn\u00e1 vznik instituce sahaj\u00edc\u00ed a\u017e do roku 1796 a jej\u00ed prom\u011bny v \u010dase.<\/p>\n

V\u00fdstava p\u0159edstavuje N\u00e1rodn\u00ed galerii jako \u017eiv\u00fd organismus, kter\u00fd se neust\u00e1le vyv\u00edj\u00ed. \u201eJarn\u00ed Opening ukazuje N\u00e1rodn\u00ed galerii Praha jako instituci, kter\u00e1 se op\u00edr\u00e1 o svou 230letou historii a z\u00e1rove\u0148 st\u00e1le aktivn\u011bji vstupuje do mezin\u00e1rodn\u00edho dialogu o um\u011bn\u00ed,\u201c \u0159\u00edk\u00e1 Olga Kotkov\u00e1, do\u010dasn\u011b pov\u011b\u0159en\u00e1 gener\u00e1ln\u00ed \u0159editelka NGP.<\/p>\n

Expozice, instalovan\u00e1 ve 4. pat\u0159e Veletr\u017en\u00edho pal\u00e1ce, nab\u00edz\u00ed pr\u016f\u0159ez d\u011bjinami galerie od jej\u00edho zalo\u017een\u00ed a\u017e po sou\u010dasnost. V deseti tematick\u00fdch kapitol\u00e1ch p\u0159edstavuje p\u0159ibli\u017en\u011b sedmdes\u00e1t d\u011bl ze v\u0161ech sb\u00edrek \u2013 od klasick\u00fdch autor\u016f, jako jsou Norbert Grund, Josef M\u00e1nes \u010di Jakub Schikaneder, p\u0159es Franti\u0161ka Kupku a Pabla Picassa a\u017e po sou\u010dasn\u00e9 um\u011blce. V\u00fdznamnou sou\u010d\u00e1st\u00ed jsou tak\u00e9 archivn\u00ed materi\u00e1ly a portr\u00e9ty osobnost\u00ed, kter\u00e9 galerii formovaly.<\/p>\n

\u201eObsahuje p\u0159ibli\u017en\u011b 70 expon\u00e1t\u016f ze v\u0161ech p\u011bti sb\u00edrek NGP\u2026 a dopl\u0148uj\u00ed je archivn\u00ed fotografie i portr\u00e9ty osobnost\u00ed, kter\u00e9 galerii utv\u00e1\u0159ely,\u201c dopl\u0148uje kur\u00e1torka Veronika Hul\u00edkov\u00e1.<\/p>\n

V\u00fdstava z\u00e1rove\u0148 p\u0159ipom\u00edn\u00e1, \u017ee d\u011bjiny N\u00e1rodn\u00ed galerie jsou histori\u00ed neust\u00e1l\u00e9ho pohybu \u2013 nejen ideov\u00e9ho, ale i fyzick\u00e9ho. Instituce b\u011bhem sv\u00e9 existence n\u011bkolikr\u00e1t m\u011bnila sv\u00e9 s\u00eddlo a jej\u00ed sou\u010dasn\u00e1 podoba je v\u00fdsledkem dlouhodob\u00e9ho propojen\u00ed soukrom\u00e9 iniciativy, mecen\u00e1\u0161stv\u00ed a st\u00e1tn\u00ed podpory.<\/p>\n

Generace Z vstupuje do galerie<\/p>\n

Vedle historick\u00e9 reflexe p\u0159in\u00e1\u0161\u00ed jarn\u00ed program i v\u00fdrazn\u00fd pohled do sou\u010dasnosti. Mezanin Veletr\u017en\u00edho pal\u00e1ce pat\u0159\u00ed bien\u00e1le UMPRUM, kter\u00e9 se po v\u00edce ne\u017e deseti letech vrac\u00ed do N\u00e1rodn\u00ed galerie.<\/p>\n

V\u00fdstava p\u0159edstavuje tvorbu p\u011btadvaceti mlad\u00fdch autor\u016f a autorek a zam\u011b\u0159uje se na tzv. generaci Z. Ta je charakteristick\u00e1 \u017eivotem v prost\u0159ed\u00ed pln\u00e9m kontrast\u016f \u2013 mezi online a offline sv\u011btem, mezi intimitou a ve\u0159ejnost\u00ed, mezi nejistotou a hled\u00e1n\u00edm stability.<\/p>\n

\u201eV\u00fdstava p\u0159edstavuje \u0161irok\u00e9 spektrum zp\u016fsob\u016f tv\u016fr\u010d\u00edho vyj\u00e1d\u0159en\u00ed\u2026 od m\u00f3dy po animovan\u00fd film, od urbanistick\u00e9 studie po videoart,\u201c vysv\u011btluje kur\u00e1torka Tereza Vernerov\u00e1 Voln\u00e1.<\/p>\n

Projekt z\u00e1rove\u0148 otev\u00edr\u00e1 d\u016fle\u017eitou spole\u010denskou debatu. \u201eV\u00fdstavu jsme cht\u011bli ud\u011blat i proto, aby lid\u00e9, kte\u0159\u00ed nepat\u0159\u00ed ke generaci Z, pochopili, co mlad\u00ed lid\u00e9 \u0159e\u0161\u00ed,\u201c \u0159\u00edk\u00e1 kur\u00e1tor Michal Novotn\u00fd.<\/p>\n

\"\"<\/a>Gabriel Max_V\u011b\u0161tkyn\u011b z Prevorstu ve vytr\u017een\u00ed\"\"<\/a>Norbert Grund \u2013 Pierot na houpa\u010dce\"\"<\/a>Ji\u0159\u00ed Kol\u00e1\u0159 X Bienal de S\u00e3o Paulo\"\"<\/a>Pal\u00e1c Kinsk\u00fdch\"\"<\/a>Instalace Obraz\u00e1rny Spole\u010dnosti vlasteneck\u00fdch p\u0159\u00e1tel um\u011bn\u00ed v Rudolfinu, 1901\"\"<\/a>Priprava expozice v roce 1960\"\"<\/a>Modern\u00ed galerie<\/p>\n

Ji\u0159\u00ed Kol\u00e1\u0159 a \u010desk\u00e9 um\u011bn\u00ed ve sv\u011bt\u011b<\/p>\n

T\u0159et\u00edm pil\u00ed\u0159em jarn\u00edho programu je komorn\u00ed v\u00fdstava v\u011bnovan\u00e1 Ji\u0159\u00edmu Kol\u00e1\u0159ovi a jeho \u00fa\u010dasti na presti\u017en\u00edm bien\u00e1le v S\u00e3o Paulu v roce 1969. Projekt p\u0159ipom\u00edn\u00e1 nejen jeho mezin\u00e1rodn\u00ed \u00fasp\u011bch, ale i \u0161ir\u0161\u00ed politick\u00fd kontext doby.<\/p>\n

V\u00fdstava prost\u0159ednictv\u00edm archivn\u00edch materi\u00e1l\u016f rekonstruuje Kol\u00e1\u0159ovu prezentaci a otev\u00edr\u00e1 ot\u00e1zky role um\u011blce v dob\u011b spole\u010densk\u00e9ho nap\u011bt\u00ed \u2013 jak v tehdej\u0161\u00edm \u010ceskoslovensku po roce 1968, tak v tehdej\u0161\u00ed Braz\u00edlii.<\/p>\n

Galerie jako prostor setk\u00e1v\u00e1n\u00ed<\/p>\n

Jarn\u00ed program dopl\u0148uje n\u011bkolik men\u0161\u00edch v\u00fdstav, tzv. grafick\u00fdch kabinet\u016f, kter\u00e9 se v\u011bnuj\u00ed jak historick\u00fdm t\u00e9mat\u016fm, tak modern\u00edm interpretac\u00edm. N\u00e1v\u0161t\u011bvn\u00edci tak mohou v jednom prostoru za\u017e\u00edt \u0161irok\u00e9 spektrum um\u011bleck\u00fdch p\u0159\u00edstup\u016f \u2013 od symboliky kv\u011btin p\u0159es krajinomalbu a\u017e po expresivn\u00ed modern\u00ed grafiku.<\/p>\n

N\u00e1rodn\u00ed galerie Praha tak potvrzuje svou roli instituce, kter\u00e1 propojuje minulost s p\u0159\u00edtomnost\u00ed a nab\u00edz\u00ed um\u011bn\u00ed jako prostor dialogu \u2013 mezi generacemi, epochami i r\u016fzn\u00fdmi pohledy na sv\u011bt.<\/p>\n

Jarn\u00ed Opening ve Veletr\u017en\u00edm pal\u00e1ci nen\u00ed jen p\u0159ipom\u00ednkou historie, ale p\u0159edev\u0161\u00edm d\u016fkazem, \u017ee um\u011bn\u00ed z\u016fst\u00e1v\u00e1 \u017eivou sou\u010d\u00e1st\u00ed sou\u010dasnosti.<\/p>\n

P\u0159ehled otev\u00edran\u00fdch v\u00fdstav<\/p>\n

NGP 230 let 27.3. 2026 \u2013 3. 1. 2027<\/p>\n

Veletr\u017en\u00ed pal\u00e1c, 4. patro (v r\u00e1mci expozice 1796\u20131918: Um\u011bn\u00ed dlouh\u00e9ho stolet\u00ed)
Kur\u00e1torka: Veronika Hul\u00edkov\u00e1<\/p>\n

Bien\u00e1le UMPRUM: Generace Z 27. 3. \u2013 28. 6. 2026, ve spolupr\u00e1ci s UMPRUM
Veletr\u017en\u00ed pal\u00e1c, mezanin
Kur\u00e1to\u0159i: Michal Novotn\u00fd, Tereza Vernerov\u00e1 Voln\u00e1<\/p>\n

Ji\u0159\u00ed Kol\u00e1\u0159: X Bienal de S\u00e3o Paulo 27. 3. \u2013 30. 8. 2026
Veletr\u017en\u00ed pal\u00e1c, 2. patro (ve sb\u00edrkov\u00e9 expozici 1939\u20132021: Konec \u010dernob\u00edl\u00e9 doby)
Kur\u00e1tor: Rado I\u0161tok<\/p>\n

Foto: arch\u00edv NG<\/p>\n

Poslechn\u011bte si audio verzi tohoto \u010dl\u00e1nku v podcastu Nov\u00e1 Ve\u010dern\u00ed Praha \u2013 Zpr\u00e1vy k poslechu:<\/p>\n","protected":false},"excerpt":{"rendered":"Jarn\u00ed program N\u00e1rodn\u00ed galerie Praha p\u0159in\u00e1\u0161\u00ed mimo\u0159\u00e1dn\u00fd pohled na jej\u00ed historii i sou\u010dasnost. Nov\u00e9 v\u00fdstavy ve Veletr\u017en\u00edm pal\u00e1ci…\n","protected":false},"author":2,"featured_media":53080,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[30],"tags":[19187,441,3939,98,99,1528,91],"class_list":{"0":"post-53079","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-praha","8":"tag-230-let","9":"tag-historie","10":"tag-narodni-galerie","11":"tag-prague","12":"tag-praha","13":"tag-vyroci","14":"tag-vystavy"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@cz\/116394016352369551","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/posts\/53079","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=53079"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/posts\/53079\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/media\/53080"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/media?parent=53079"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/categories?post=53079"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/tags?post=53079"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}