Vlastivědné muzeum

Museum of Modern

Art

Olomouc Archdiocesan

Museum

Regional Museum of Olomouc

Regional Museum in Olomouc

Holy Trinity Column

City HallAstronomical clock

The exhibition presents the work of Magdalena Jetelová (*1946), a noted Czech artist, one of contemporary visual artists who have achieved international acclaim. In the form of wooden chairs, staircases and other objects from the late 1970s and the first half of the 1980s she gave an ironic account of life under the Communist regime. Her participation at unofficial events resulted in her not being allowed to attend international exhibitions. Her artistic activity, often bordering on illegality, was reduced to the sphere of artists with a similar outlook on art. In 1983–84 she organized, in her former studio in Prague, an event with signalling smoke, thus visualizing the expansion of the “red” conglomeration. Dating from before her emigration is the by now legendary and still unfinished landart project, with the idea of an original underground space, called Underground City. After her emigration in 1985, her studio was destroyed. When she lived abroad, she never slackened off in her creative activity. As early as 1983 an invitation came to exhibit in the New Art at the Tate Gallery in London, as the only representative of the Eastern Block countries, and then gradually Magdalena Jetelová joined the international artistic scene.

Sculpture became her original stepping out, outside the galleries. She began to deal with relations between an object and space. She deconstrues the present form of architecture by a new visuality, destabilizes its face by intentional reversal or repetition of elements, and by a general shift in time she uncovers remote or excluded contexts. She was one of the first artists from the post-Communist countries to start applying new technologies and laser light and made use of coded language of GPS coordinates as well as of modern robotic systems. In the continuously improving technology of new media she has found an opportunity for a revival of communication and for mediation of uncommon emotional experience. She is flexible in her response to place, she extracts it from the common con-text and alters its structure, with the aim of perceiving different

interlayers of time and space. She never forgets social aspects either, such as human reights and care of environment.

In 1992–1995 she implemented her monumental project Domestication of Pyramids in several cultural institutions in Europe, in which she confronted their exhibition space with the strict geometry of Egyptian architecture. Among her other remarkable installations are Translocation I and II in Hannover and Darmstadt in Germany, where she worked with dynamic shifts in space and time. A direct reaction to place itself is found in her other time-cum-space structures. With light beams she marks out directions and makes division or linking visible (Island Project, 1992, Atlantic Wall, 1994–95; Crossing King’s Cross, 1996). Ground for her complex creations is found close to landart, conceptual art, and action.

Magdalena Jetelová in 1990–2004 was teacher at the Sta-te Art Academy in Düsseldorf, from 2004 to the end of 2012 professor at the Academy in Munich. After 1989 she was a consultant to President Václav Havel in the Prague Castle. She exhibited in many prestigious galleries of the world (e.g. Museu d’Art Contemporani de Barcelona, Tate Gallery of Art London, Museum of Modern Art New York, Chicago Art Center, Martin-Grophius-Bau Berlin, Zachęta Narodowa Galeria Sztuki Warszawa), took part in international exhibitions (Dokumenta 8 in Kassel, Sydney Biennale, Gwangju Biennale in South Korea, 54th Bienale in Venice). On the occasion of being awarded the Lovis Corinth Prize in 2007, a large monograph about her was published. Her work is found in leading world collections, e.g. in Paris in the Musée National d‘Art Moderne Centre G. Pompidou, in the Museum der Stadt Darmstadt, The Henry Moore Institute Leeds, The Hirshhorn Museum and Sculpture Garden in Washington D.C., The National Gallery in Prague.

In the exhibition project (DES)ORIENTATION? Projects from 1982–2013 the space structures are presented through dynamic light and visualization of hidden energy. Also on display are her latest works using a text or smoke, thus referring to the recent common history of the former post-Communist countries. In a world premiere, the artist is introducing the project of an underground garden centre, designed in contrast to the prevai-ling stream of the uniform housing estate of South Town. The uniqueness of the project is borne out by the fact of this being only the third independent exhibition of Magdalena Jetelová in her original home country. She prepared it specially for the Olomouc Museum and with the smoke event at the opening of the exhibition she is inviting you to active participation in this project by an artist from Central and Eastern Europe.

Accompanying programme

Animation programme

What art can do / Space without limitsAnimation programme for the youngest (age 2-6)Thursday / 5 September 2013 / 10:00–11:00 and 15:30–16:30Museum of Modern Art The animation programme from the cycle “What art can do“ will be a space puzzle associated with the exhibition of Magdalena Jetelová. The story of place, material and time will become inspiration for an art game involving all senses. Entrance is free but for each event a reservation is necessary! Information and reservations: Michaela Johnová Čapková, johncapkova@olmuart.cz, tel.: 585 514 174

From where to where?Animation programme accompanying the exhibition What is space? Who are we and where is our place in it? Can space transform us? And can we transform space? Can we illuminate it? And can we achieve enlightenment? Which is the way in and which out? And what is this city? What to do in order not to get lost in it? How not to lose oneself and not lend a hand to evil? These are all complicated questions. Answers to them will be sought by students together with lecturer David Hrbek and by performing a few practical tasks and playing games in space and with space. The programme is suitable for pupils aged 11-15 and for se-condary school students. Information and reservations: David Hrbek, hrbek@olmuart.cz, tel.: 585 514 213

Commented tours

Tue / 11 June 2013 / 5 p. m. / Museum of Modern ArtTue / 24 September 2013 / 5 p. m. / Museum of Modern Art Your guide at the exhibition will be its curator Olga Staníková

Lecture on the exhibition

Tue / 1 October 2013 / 5 p. m. Museum of Modern Art / Lecture HallArchitecture and public spacedoc. PhDr. Petr Kratochvíl, CSc. M

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rtMAGDALENA JETELOVÁ(DES)ORIENTATION?Projects from 1982–2013

30 May – 27 October 2013 Olomouc Museum of ArtMuseum of Modern Art

exhibition

author of the exhibition Magdalena Jetelovácurators of the exhibition Michal Soukup, Olga Staníkováarchitectural design Magdalena Jetelová, Marek Novák, Michal Soukuptranslation Jaroslav Peprníkimplementation Jan Černý, Jan Hanák, Roman Holub, Lea Letzel, Richard Loskot, Matěj Neubert, Fabian Offert, René Rohan, Petr Sláma, Milan Tomeček, Kamil Zajíčekgraphic design Magdalena Jetelová, Beata Rakowská, Petr Šmalecphotographs the author‘s archive, Lumír Čuříkinstallation Vlastimil Sedláček, Filip Šindelář, Ondřej Žákpromotion Petr Bielesz

The exhibition was prepared in cooperation with Ministry of Culture of the Czech Republic, Municipality of Olomouc, Olomouc Region, Institute for the Study of Totalitarian Regimes, Lower Area of Vítkovice Association, Vítkovice Power Engineering, a subsidiary of Vítkovice, Ltd.

The exhibition is held under the auspices of the Deputy Prime Minister and Minister of Foreign Affairs of the Czech Republic Karel Schwarzenberg.

Underground City / silkscreen, enamel, Ostrava-Vítkovice, 2013, property of the artist

media partners

partners

Olomouc Archdiocesan Museum | Václavské nám. 3, 771 11 Olomouc

Museum of Modern Art | Denisova 47 | 771 11 Olomouc

Admission fee: Full: CZK 50 | Reduced: CZK 25 The ticket is valid on the day of purchase for both the Archdiocesan Museum and the Museum of Modern Art | Opening Hours: daily, except Mondays | 10 a.m. – 6 p.m.

Kroměříž Archdiocesan Museum | Sněmovní nám 1 | 767 01 Kroměříž

Admission fee | Opening hours: See the list of admission and opening hours of the Archiepiscopal Chateau and Gardens in Kroměříž | www.azz.cz

Information: info@olmuart.cz | tel: 585 514 111 | www.olmuart.cz

Underground Citymodel, plaster, Prague, 1982; model, palight, Bergheim, 2013silkscreen, enamel, Ostrava-Vítkovice, 2013; property of the artistAn underground garden centre in South Town, an unrealized project situated in the gap which arose by the construction of the metro on the outskirts of Prague, is shown in a plaster model dating from 1982. For years it was kept hidden from the eyes of the people as well as the artist. The close neighbour-hood of the blocks of the housing estate and its oblong shape (more than one kilometre long and one hundred meters wide) inspired the artist for a bold project of underground architecture, where the landscape becomes its facade. The undulating belt of greenery with hills, cascades, glass walls and skylights links the above-ground part with the “underground city”. The new models and enamels are based on the original design of organic shaping of space and they emphasize the importance of nature in man’s life.

Tichá Šárka – Red WorldA videodocument of the events Marking with Red Smoke, Šárka, 1983–85; Stalin (at the Festival of Contemporary Art TINA B. in Prague), Prague, 2007; aPEL, Olomouc, 2013Drawings with signalling smoke on canvas, 2005–2013property of the artistThe red signalling smoke wraps the immediate surroundings as well as its source in a dense cloud of smoke. Hazy contours in the distance form an impressive, vanishing image. Beside the mass of the place, the smoke visualizes its historical memory and its transitoriness. The red colour is a reminder of the fact that in this way the increasing series of socialist countries was shown in political maps. The cycle of large-size paintings reveals the artist’s principle of work with signalling smoke as a new visual form. The inability of capturing its shapes is supplemented with remnants of soot and with quotations in-scribed with pigments. By the reminder of the underestimated danger of the past times the document calls your attention to its importance in the contemporary context.

Crime Scenesspatial installation, Olomouc, 2013property of the artistThe blow-outs of documents of StB, the secret police, de-monstrate both the crimes of the Communist regime and the sophisticated manipulation and systematic dissemination of disinformation. The by now already absurd-looking information about the obligatory picking of the Colorado beetle and the subsequent punishment of individuals ignoring the campaign leave a bitter taste of machinery infiltrating the lives of the

people. A direct encounter with the recent past, hiding under the sign “strictly secret”, tells much about the personal commitment of the artist and invites a confrontation with the atmosphere of the era in which before her emigration she lived with the rest of the population of Czechoslovakia. To this day she has never remained indifferent to the issue of human rights.

Translocationspatial installation, Olomouc, 2013property of the artistThe built-in construction with a horizontal as well as vertical shift crosses the entrance space of the exhibition hall, which duplicates everything. Under the seeming unification with the surroundings is hidden an intensive tension between archi-tecture and space. The conflict reflects the dynamic labyrinth of passages, paths and mysterious corners in an originally open space, which is intensified by walls and pillars inclining along the vertical axis. The seemingly “falling” architecture makes its existing form relative and introduces a different experience of time and space. In connection with the acoustic element it impressively links the past with the present and invites ques-tions about the precise definition of time, space and man’s place in the world.

“Forget it”enamel, Ostrava-Vítkovice, 2013property of the artistMovement, speed and human action as an imprint of the cooperation with technology. The new view of matter and its rearrangement offers a way out from the vicious circle. The sym-bolical meaning of the event does not merely give a particular message but generally points to a possible escape from an otherwise precisely defined situation, sometimes intentionally suppressing the opportunity for one’s own, present or future, contribution.

(DES)ORIENTATION? spatial installation, Olomouc, 2013property of the artistThe installation of large-size mirror walls and their motion disturbs the common perception of space. The dynamic cha-racter of the foils dissolves the contours of reality and turns them into an irreal picture, which prevents man from reliably identifying the surroundings and oneself. Paradoxically only the quotation and the phrases on the mirrors remain motionless and legible, in spite of the movement of the surrounding area. The feeling of losing one’s own being and its fixed place in space invites questions about our historical development, the future heading towards a better perception and understanding one’s own position.

Iceland Project silverbaryt print, Iceland, 1992property of the artistThe line of light crossing the surface of the bleak countryside of Iceland visualizes something hidden in the depth of the ocean. The Central Atlantic mountain range stretching for some 15 00 kilometres on the sea floor is the geological boundary between America and Europe. On the border of the plates in the ocean crust lined with faults and plateaus unceasing changes take place, through which the present location of continents originated. The long seam may be seen with naked eye in Iceland only. The extreme case of its emergence to the surface of the Earth is made visible by a laser beam, which thus proves the unsurmountable and always free form of the borders of our world.

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Atlantic Wallsilverbaryt print, Denmark, 1994–95, property of the artistThe ferro-concrete forts lining the sea coast from Norway to Spain are unique historical evidence. The defensive belt of structures built against the invasion of the Allies, with bunkers, their openings for guns, and observation points stops in time the war strategy of the Third Reich. Nature altered the former monstrous structure and made it hard to recognize. Against the background of concrete monoliths, the thoughts of the French philosopher Paul Virilis about military space, violence and typology of fortresses get interlinked with the mythic character of the present-day ruins, symbolically “departing” into the sea.

Crossing King’s Cross silverbaryt print, London, 1996, property of the artistThe blow-outs of documents of StB, the secret police, demon-strate both the crimes of the Communist regime and the fine manipulations and systematic dissemination of disinformation. The by now already absurd-looking information about the obligatory picking of the Colorado beetle and the subsequent punishment of individuals ignoring the campaign hide the bitter taste of the machinery infiltrating the lives of the people. A direct encounter with the recent past, masked by the words “strictly secret”, tells much about the personal commitment of the artist and invites a confrontation with the atmosphere of the era in which before her emigration she lived with the rest of the population of Czechoslovakia. To this day she has never been indifferent to the issue of human rights.

Salon

Terrace

Cafe

Nave

Nave

WC

Underground Citymodel, plaster, Prague, 1982; model, palight, Bergheim, 2013silkscreen, enamel, Ostrava-Vítkovice, 2013; property of the artistAn underground garden centre in South Town, an unrealized project situated in the gap which arose by the construction of the metro on the outskirts of Prague, is shown in a plaster model dating from 1982. For years it was kept hidden from the eyes of the people as well as the artist. The close neighbour-hood of the blocks of the housing estate and its oblong shape (more than one kilometre long and one hundred meters wide) inspired the artist for a bold project of underground architecture, where the landscape becomes its facade. The undulating belt of greenery with hills, cascades, glass walls and skylights links the above-ground part with the “underground city”. The new models and enamels are based on the original design of organic shaping of space and they emphasize the importance of nature in man’s life.

Tichá Šárka – Red WorldA videodocument of the events Marking with Red Smoke, Šárka, 1983–85; Stalin (at the Festival of Contemporary Art TINA B. in Prague), Prague, 2007; aPEL, Olomouc, 2013Drawings with signalling smoke on canvas, 2005–2013property of the artistThe red signalling smoke wraps the immediate surroundings as well as its source in a dense cloud of smoke. Hazy contours in the distance form an impressive, vanishing image. Beside the mass of the place, the smoke visualizes its historical memory and its transitoriness. The red colour is a reminder of the fact that in this way the increasing series of socialist countries was shown in political maps. The cycle of large-size paintings reveals the artist’s principle of work with signalling smoke as a new visual form. The inability of capturing its shapes is supplemented with remnants of soot and with quotations in-scribed with pigments. By the reminder of the underestimated danger of the past times the document calls your attention to its importance in the contemporary context.

Crime Scenesspatial installation, Olomouc, 2013property of the artistThe blow-outs of documents of StB, the secret police, de-monstrate both the crimes of the Communist regime and the sophisticated manipulation and systematic dissemination of disinformation. The by now already absurd-looking information about the obligatory picking of the Colorado beetle and the subsequent punishment of individuals ignoring the campaign leave a bitter taste of machinery infiltrating the lives of the

people. A direct encounter with the recent past, hiding under the sign “strictly secret”, tells much about the personal commitment of the artist and invites a confrontation with the atmosphere of the era in which before her emigration she lived with the rest of the population of Czechoslovakia. To this day she has never remained indifferent to the issue of human rights.

Translocationspatial installation, Olomouc, 2013property of the artistThe built-in construction with a horizontal as well as vertical shift crosses the entrance space of the exhibition hall, which duplicates everything. Under the seeming unification with the surroundings is hidden an intensive tension between archi-tecture and space. The conflict reflects the dynamic labyrinth of passages, paths and mysterious corners in an originally open space, which is intensified by walls and pillars inclining along the vertical axis. The seemingly “falling” architecture makes its existing form relative and introduces a different experience of time and space. In connection with the acoustic element it impressively links the past with the present and invites ques-tions about the precise definition of time, space and man’s place in the world.

“Forget it”enamel, Ostrava-Vítkovice, 2013property of the artistMovement, speed and human action as an imprint of the cooperation with technology. The new view of matter and its rearrangement offers a way out from the vicious circle. The sym-bolical meaning of the event does not merely give a particular message but generally points to a possible escape from an otherwise precisely defined situation, sometimes intentionally suppressing the opportunity for one’s own, present or future, contribution.

(DES)ORIENTATION? spatial installation, Olomouc, 2013property of the artistThe installation of large-size mirror walls and their motion disturbs the common perception of space. The dynamic cha-racter of the foils dissolves the contours of reality and turns them into an irreal picture, which prevents man from reliably identifying the surroundings and oneself. Paradoxically only the quotation and the phrases on the mirrors remain motionless and legible, in spite of the movement of the surrounding area. The feeling of losing one’s own being and its fixed place in space invites questions about our historical development, the future heading towards a better perception and understanding one’s own position.

Iceland Project silverbaryt print, Iceland, 1992property of the artistThe line of light crossing the surface of the bleak countryside of Iceland visualizes something hidden in the depth of the ocean. The Central Atlantic mountain range stretching for some 15 00 kilometres on the sea floor is the geological boundary between America and Europe. On the border of the plates in the ocean crust lined with faults and plateaus unceasing changes take place, through which the present location of continents originated. The long seam may be seen with naked eye in Iceland only. The extreme case of its emergence to the surface of the Earth is made visible by a laser beam, which thus proves the unsurmountable and always free form of the borders of our world.

1

11

4

4

7

7

7

5

5

8

8

6

6

6

9

9

2

2

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Atlantic Wallsilverbaryt print, Denmark, 1994–95, property of the artistThe ferro-concrete forts lining the sea coast from Norway to Spain are unique historical evidence. The defensive belt of structures built against the invasion of the Allies, with bunkers, their openings for guns, and observation points stops in time the war strategy of the Third Reich. Nature altered the former monstrous structure and made it hard to recognize. Against the background of concrete monoliths, the thoughts of the French philosopher Paul Virilis about military space, violence and typology of fortresses get interlinked with the mythic character of the present-day ruins, symbolically “departing” into the sea.

Crossing King’s Cross silverbaryt print, London, 1996, property of the artistThe blow-outs of documents of StB, the secret police, demon-strate both the crimes of the Communist regime and the fine manipulations and systematic dissemination of disinformation. The by now already absurd-looking information about the obligatory picking of the Colorado beetle and the subsequent punishment of individuals ignoring the campaign hide the bitter taste of the machinery infiltrating the lives of the people. A direct encounter with the recent past, masked by the words “strictly secret”, tells much about the personal commitment of the artist and invites a confrontation with the atmosphere of the era in which before her emigration she lived with the rest of the population of Czechoslovakia. To this day she has never been indifferent to the issue of human rights.

Salon

Terrace

Cafe

Nave

Nave

WC

Underground Citymodel, plaster, Prague, 1982; model, palight, Bergheim, 2013silkscreen, enamel, Ostrava-Vítkovice, 2013; property of the artistAn underground garden centre in South Town, an unrealized project situated in the gap which arose by the construction of the metro on the outskirts of Prague, is shown in a plaster model dating from 1982. For years it was kept hidden from the eyes of the people as well as the artist. The close neighbour-hood of the blocks of the housing estate and its oblong shape (more than one kilometre long and one hundred meters wide) inspired the artist for a bold project of underground architecture, where the landscape becomes its facade. The undulating belt of greenery with hills, cascades, glass walls and skylights links the above-ground part with the “underground city”. The new models and enamels are based on the original design of organic shaping of space and they emphasize the importance of nature in man’s life.

Tichá Šárka – Red WorldA videodocument of the events Marking with Red Smoke, Šárka, 1983–85; Stalin (at the Festival of Contemporary Art TINA B. in Prague), Prague, 2007; aPEL, Olomouc, 2013Drawings with signalling smoke on canvas, 2005–2013property of the artistThe red signalling smoke wraps the immediate surroundings as well as its source in a dense cloud of smoke. Hazy contours in the distance form an impressive, vanishing image. Beside the mass of the place, the smoke visualizes its historical memory and its transitoriness. The red colour is a reminder of the fact that in this way the increasing series of socialist countries was shown in political maps. The cycle of large-size paintings reveals the artist’s principle of work with signalling smoke as a new visual form. The inability of capturing its shapes is supplemented with remnants of soot and with quotations in-scribed with pigments. By the reminder of the underestimated danger of the past times the document calls your attention to its importance in the contemporary context.

Crime Scenesspatial installation, Olomouc, 2013property of the artistThe blow-outs of documents of StB, the secret police, de-monstrate both the crimes of the Communist regime and the sophisticated manipulation and systematic dissemination of disinformation. The by now already absurd-looking information about the obligatory picking of the Colorado beetle and the subsequent punishment of individuals ignoring the campaign leave a bitter taste of machinery infiltrating the lives of the

people. A direct encounter with the recent past, hiding under the sign “strictly secret”, tells much about the personal commitment of the artist and invites a confrontation with the atmosphere of the era in which before her emigration she lived with the rest of the population of Czechoslovakia. To this day she has never remained indifferent to the issue of human rights.

Translocationspatial installation, Olomouc, 2013property of the artistThe built-in construction with a horizontal as well as vertical shift crosses the entrance space of the exhibition hall, which duplicates everything. Under the seeming unification with the surroundings is hidden an intensive tension between archi-tecture and space. The conflict reflects the dynamic labyrinth of passages, paths and mysterious corners in an originally open space, which is intensified by walls and pillars inclining along the vertical axis. The seemingly “falling” architecture makes its existing form relative and introduces a different experience of time and space. In connection with the acoustic element it impressively links the past with the present and invites ques-tions about the precise definition of time, space and man’s place in the world.

“Forget it”enamel, Ostrava-Vítkovice, 2013property of the artistMovement, speed and human action as an imprint of the cooperation with technology. The new view of matter and its rearrangement offers a way out from the vicious circle. The sym-bolical meaning of the event does not merely give a particular message but generally points to a possible escape from an otherwise precisely defined situation, sometimes intentionally suppressing the opportunity for one’s own, present or future, contribution.

(DES)ORIENTATION? spatial installation, Olomouc, 2013property of the artistThe installation of large-size mirror walls and their motion disturbs the common perception of space. The dynamic cha-racter of the foils dissolves the contours of reality and turns them into an irreal picture, which prevents man from reliably identifying the surroundings and oneself. Paradoxically only the quotation and the phrases on the mirrors remain motionless and legible, in spite of the movement of the surrounding area. The feeling of losing one’s own being and its fixed place in space invites questions about our historical development, the future heading towards a better perception and understanding one’s own position.

Iceland Project silverbaryt print, Iceland, 1992property of the artistThe line of light crossing the surface of the bleak countryside of Iceland visualizes something hidden in the depth of the ocean. The Central Atlantic mountain range stretching for some 15 00 kilometres on the sea floor is the geological boundary between America and Europe. On the border of the plates in the ocean crust lined with faults and plateaus unceasing changes take place, through which the present location of continents originated. The long seam may be seen with naked eye in Iceland only. The extreme case of its emergence to the surface of the Earth is made visible by a laser beam, which thus proves the unsurmountable and always free form of the borders of our world.

1

11

4

4

7

7

7

5

5

8

8

6

6

6

9

9

2

2

3

3

Atlantic Wallsilverbaryt print, Denmark, 1994–95, property of the artistThe ferro-concrete forts lining the sea coast from Norway to Spain are unique historical evidence. The defensive belt of structures built against the invasion of the Allies, with bunkers, their openings for guns, and observation points stops in time the war strategy of the Third Reich. Nature altered the former monstrous structure and made it hard to recognize. Against the background of concrete monoliths, the thoughts of the French philosopher Paul Virilis about military space, violence and typology of fortresses get interlinked with the mythic character of the present-day ruins, symbolically “departing” into the sea.

Crossing King’s Cross silverbaryt print, London, 1996, property of the artistThe blow-outs of documents of StB, the secret police, demon-strate both the crimes of the Communist regime and the fine manipulations and systematic dissemination of disinformation. The by now already absurd-looking information about the obligatory picking of the Colorado beetle and the subsequent punishment of individuals ignoring the campaign hide the bitter taste of the machinery infiltrating the lives of the people. A direct encounter with the recent past, masked by the words “strictly secret”, tells much about the personal commitment of the artist and invites a confrontation with the atmosphere of the era in which before her emigration she lived with the rest of the population of Czechoslovakia. To this day she has never been indifferent to the issue of human rights.

Salon

Terrace

Cafe

Nave

Nave

WC

Vlastivědné muzeum

Museum of Modern

Art

Olomouc Archdiocesan

Museum

Regional Museum of Olomouc

Regional Museum in Olomouc

Holy Trinity Column

City HallAstronomical clock

The exhibition presents the work of Magdalena Jetelová (*1946), a noted Czech artist, one of contemporary visual artists who have achieved international acclaim. In the form of wooden chairs, staircases and other objects from the late 1970s and the first half of the 1980s she gave an ironic account of life under the Communist regime. Her participation at unofficial events resulted in her not being allowed to attend international exhibitions. Her artistic activity, often bordering on illegality, was reduced to the sphere of artists with a similar outlook on art. In 1983–84 she organized, in her former studio in Prague, an event with signalling smoke, thus visualizing the expansion of the “red” conglomeration. Dating from before her emigration is the by now legendary and still unfinished landart project, with the idea of an original underground space, called Underground City. After her emigration in 1985, her studio was destroyed. When she lived abroad, she never slackened off in her creative activity. As early as 1983 an invitation came to exhibit in the New Art at the Tate Gallery in London, as the only representative of the Eastern Block countries, and then gradually Magdalena Jetelová joined the international artistic scene.

Sculpture became her original stepping out, outside the galleries. She began to deal with relations between an object and space. She deconstrues the present form of architecture by a new visuality, destabilizes its face by intentional reversal or repetition of elements, and by a general shift in time she uncovers remote or excluded contexts. She was one of the first artists from the post-Communist countries to start applying new technologies and laser light and made use of coded language of GPS coordinates as well as of modern robotic systems. In the continuously improving technology of new media she has found an opportunity for a revival of communication and for mediation of uncommon emotional experience. She is flexible in her response to place, she extracts it from the common con-text and alters its structure, with the aim of perceiving different

interlayers of time and space. She never forgets social aspects either, such as human reights and care of environment.

In 1992–1995 she implemented her monumental project Domestication of Pyramids in several cultural institutions in Europe, in which she confronted their exhibition space with the strict geometry of Egyptian architecture. Among her other remarkable installations are Translocation I and II in Hannover and Darmstadt in Germany, where she worked with dynamic shifts in space and time. A direct reaction to place itself is found in her other time-cum-space structures. With light beams she marks out directions and makes division or linking visible (Island Project, 1992, Atlantic Wall, 1994–95; Crossing King’s Cross, 1996). Ground for her complex creations is found close to landart, conceptual art, and action.

Magdalena Jetelová in 1990–2004 was teacher at the Sta-te Art Academy in Düsseldorf, from 2004 to the end of 2012 professor at the Academy in Munich. After 1989 she was a consultant to President Václav Havel in the Prague Castle. She exhibited in many prestigious galleries of the world (e.g. Museu d’Art Contemporani de Barcelona, Tate Gallery of Art London, Museum of Modern Art New York, Chicago Art Center, Martin-Grophius-Bau Berlin, Zachęta Narodowa Galeria Sztuki Warszawa), took part in international exhibitions (Dokumenta 8 in Kassel, Sydney Biennale, Gwangju Biennale in South Korea, 54th Bienale in Venice). On the occasion of being awarded the Lovis Corinth Prize in 2007, a large monograph about her was published. Her work is found in leading world collections, e.g. in Paris in the Musée National d‘Art Moderne Centre G. Pompidou, in the Museum der Stadt Darmstadt, The Henry Moore Institute Leeds, The Hirshhorn Museum and Sculpture Garden in Washington D.C., The National Gallery in Prague.

In the exhibition project (DES)ORIENTATION? Projects from 1982–2013 the space structures are presented through dynamic light and visualization of hidden energy. Also on display are her latest works using a text or smoke, thus referring to the recent common history of the former post-Communist countries. In a world premiere, the artist is introducing the project of an underground garden centre, designed in contrast to the prevai-ling stream of the uniform housing estate of South Town. The uniqueness of the project is borne out by the fact of this being only the third independent exhibition of Magdalena Jetelová in her original home country. She prepared it specially for the Olomouc Museum and with the smoke event at the opening of the exhibition she is inviting you to active participation in this project by an artist from Central and Eastern Europe.

Accompanying programme

Animation programme

What art can do / Space without limitsAnimation programme for the youngest (age 2-6)Thursday / 5 September 2013 / 10:00–11:00 and 15:30–16:30Museum of Modern Art The animation programme from the cycle “What art can do“ will be a space puzzle associated with the exhibition of Magdalena Jetelová. The story of place, material and time will become inspiration for an art game involving all senses. Entrance is free but for each event a reservation is necessary! Information and reservations: Michaela Johnová Čapková, johncapkova@olmuart.cz, tel.: 585 514 174

From where to where?Animation programme accompanying the exhibition What is space? Who are we and where is our place in it? Can space transform us? And can we transform space? Can we illuminate it? And can we achieve enlightenment? Which is the way in and which out? And what is this city? What to do in order not to get lost in it? How not to lose oneself and not lend a hand to evil? These are all complicated questions. Answers to them will be sought by students together with lecturer David Hrbek and by performing a few practical tasks and playing games in space and with space. The programme is suitable for pupils aged 11-15 and for se-condary school students. Information and reservations: David Hrbek, hrbek@olmuart.cz, tel.: 585 514 213

Commented tours

Tue / 11 June 2013 / 5 p. m. / Museum of Modern ArtTue / 24 September 2013 / 5 p. m. / Museum of Modern Art Your guide at the exhibition will be its curator Olga Staníková

Lecture on the exhibition

Tue / 1 October 2013 / 5 p. m. Museum of Modern Art / Lecture HallArchitecture and public spacedoc. PhDr. Petr Kratochvíl, CSc. M

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rtMAGDALENA JETELOVÁ(DES)ORIENTATION?Projects from 1982–2013

30 May – 27 October 2013 Olomouc Museum of ArtMuseum of Modern Art

exhibition

author of the exhibition Magdalena Jetelovácurators of the exhibition Michal Soukup, Olga Staníkováarchitectural design Magdalena Jetelová, Marek Novák, Michal Soukuptranslation Jaroslav Peprníkimplementation Jan Černý, Jan Hanák, Roman Holub, Lea Letzel, Richard Loskot, Matěj Neubert, Fabian Offert, René Rohan, Petr Sláma, Milan Tomeček, Kamil Zajíčekgraphic design Magdalena Jetelová, Beata Rakowská, Petr Šmalecphotographs the author‘s archive, Lumír Čuříkinstallation Vlastimil Sedláček, Filip Šindelář, Ondřej Žákpromotion Petr Bielesz

The exhibition was prepared in cooperation with Ministry of Culture of the Czech Republic, Municipality of Olomouc, Olomouc Region, Institute for the Study of Totalitarian Regimes, Lower Area of Vítkovice Association, Vítkovice Power Engineering, a subsidiary of Vítkovice, Ltd.

The exhibition is held under the auspices of the Deputy Prime Minister and Minister of Foreign Affairs of the Czech Republic Karel Schwarzenberg.

Underground City / silkscreen, enamel, Ostrava-Vítkovice, 2013, property of the artist

media partners

partners

Olomouc Archdiocesan Museum | Václavské nám. 3, 771 11 Olomouc

Museum of Modern Art | Denisova 47 | 771 11 Olomouc

Admission fee: Full: CZK 50 | Reduced: CZK 25 The ticket is valid on the day of purchase for both the Archdiocesan Museum and the Museum of Modern Art | Opening Hours: daily, except Mondays | 10 a.m. – 6 p.m.

Kroměříž Archdiocesan Museum | Sněmovní nám 1 | 767 01 Kroměříž

Admission fee | Opening hours: See the list of admission and opening hours of the Archiepiscopal Chateau and Gardens in Kroměříž | www.azz.cz

Information: info@olmuart.cz | tel: 585 514 111 | www.olmuart.cz

Underground Citymodel, plaster, Prague, 1982; model, palight, Bergheim, 2013silkscreen, enamel, Ostrava-Vítkovice, 2013; property of the artistAn underground garden centre in South Town, an unrealized project situated in the gap which arose by the construction of the metro on the outskirts of Prague, is shown in a plaster model dating from 1982. For years it was kept hidden from the eyes of the people as well as the artist. The close neighbour-hood of the blocks of the housing estate and its oblong shape (more than one kilometre long and one hundred meters wide) inspired the artist for a bold project of underground architecture, where the landscape becomes its facade. The undulating belt of greenery with hills, cascades, glass walls and skylights links the above-ground part with the “underground city”. The new models and enamels are based on the original design of organic shaping of space and they emphasize the importance of nature in man’s life.

Tichá Šárka – Red WorldA videodocument of the events Marking with Red Smoke, Šárka, 1983–85; Stalin (at the Festival of Contemporary Art TINA B. in Prague), Prague, 2007; aPEL, Olomouc, 2013Drawings with signalling smoke on canvas, 2005–2013property of the artistThe red signalling smoke wraps the immediate surroundings as well as its source in a dense cloud of smoke. Hazy contours in the distance form an impressive, vanishing image. Beside the mass of the place, the smoke visualizes its historical memory and its transitoriness. The red colour is a reminder of the fact that in this way the increasing series of socialist countries was shown in political maps. The cycle of large-size paintings reveals the artist’s principle of work with signalling smoke as a new visual form. The inability of capturing its shapes is supplemented with remnants of soot and with quotations in-scribed with pigments. By the reminder of the underestimated danger of the past times the document calls your attention to its importance in the contemporary context.

Crime Scenesspatial installation, Olomouc, 2013property of the artistThe blow-outs of documents of StB, the secret police, de-monstrate both the crimes of the Communist regime and the sophisticated manipulation and systematic dissemination of disinformation. The by now already absurd-looking information about the obligatory picking of the Colorado beetle and the subsequent punishment of individuals ignoring the campaign leave a bitter taste of machinery infiltrating the lives of the

people. A direct encounter with the recent past, hiding under the sign “strictly secret”, tells much about the personal commitment of the artist and invites a confrontation with the atmosphere of the era in which before her emigration she lived with the rest of the population of Czechoslovakia. To this day she has never remained indifferent to the issue of human rights.

Translocationspatial installation, Olomouc, 2013property of the artistThe built-in construction with a horizontal as well as vertical shift crosses the entrance space of the exhibition hall, which duplicates everything. Under the seeming unification with the surroundings is hidden an intensive tension between archi-tecture and space. The conflict reflects the dynamic labyrinth of passages, paths and mysterious corners in an originally open space, which is intensified by walls and pillars inclining along the vertical axis. The seemingly “falling” architecture makes its existing form relative and introduces a different experience of time and space. In connection with the acoustic element it impressively links the past with the present and invites ques-tions about the precise definition of time, space and man’s place in the world.

“Forget it”enamel, Ostrava-Vítkovice, 2013property of the artistMovement, speed and human action as an imprint of the cooperation with technology. The new view of matter and its rearrangement offers a way out from the vicious circle. The sym-bolical meaning of the event does not merely give a particular message but generally points to a possible escape from an otherwise precisely defined situation, sometimes intentionally suppressing the opportunity for one’s own, present or future, contribution.

(DES)ORIENTATION? spatial installation, Olomouc, 2013property of the artistThe installation of large-size mirror walls and their motion disturbs the common perception of space. The dynamic cha-racter of the foils dissolves the contours of reality and turns them into an irreal picture, which prevents man from reliably identifying the surroundings and oneself. Paradoxically only the quotation and the phrases on the mirrors remain motionless and legible, in spite of the movement of the surrounding area. The feeling of losing one’s own being and its fixed place in space invites questions about our historical development, the future heading towards a better perception and understanding one’s own position.

Iceland Project silverbaryt print, Iceland, 1992property of the artistThe line of light crossing the surface of the bleak countryside of Iceland visualizes something hidden in the depth of the ocean. The Central Atlantic mountain range stretching for some 15 00 kilometres on the sea floor is the geological boundary between America and Europe. On the border of the plates in the ocean crust lined with faults and plateaus unceasing changes take place, through which the present location of continents originated. The long seam may be seen with naked eye in Iceland only. The extreme case of its emergence to the surface of the Earth is made visible by a laser beam, which thus proves the unsurmountable and always free form of the borders of our world.

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Atlantic Wallsilverbaryt print, Denmark, 1994–95, property of the artistThe ferro-concrete forts lining the sea coast from Norway to Spain are unique historical evidence. The defensive belt of structures built against the invasion of the Allies, with bunkers, their openings for guns, and observation points stops in time the war strategy of the Third Reich. Nature altered the former monstrous structure and made it hard to recognize. Against the background of concrete monoliths, the thoughts of the French philosopher Paul Virilis about military space, violence and typology of fortresses get interlinked with the mythic character of the present-day ruins, symbolically “departing” into the sea.

Crossing King’s Cross silverbaryt print, London, 1996, property of the artistThe blow-outs of documents of StB, the secret police, demon-strate both the crimes of the Communist regime and the fine manipulations and systematic dissemination of disinformation. The by now already absurd-looking information about the obligatory picking of the Colorado beetle and the subsequent punishment of individuals ignoring the campaign hide the bitter taste of the machinery infiltrating the lives of the people. A direct encounter with the recent past, masked by the words “strictly secret”, tells much about the personal commitment of the artist and invites a confrontation with the atmosphere of the era in which before her emigration she lived with the rest of the population of Czechoslovakia. To this day she has never been indifferent to the issue of human rights.

Salon

Terrace

Cafe

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Underground Citymodel, plaster, Prague, 1982; model, palight, Bergheim, 2013silkscreen, enamel, Ostrava-Vítkovice, 2013; property of the artistAn underground garden centre in South Town, an unrealized project situated in the gap which arose by the construction of the metro on the outskirts of Prague, is shown in a plaster model dating from 1982. For years it was kept hidden from the eyes of the people as well as the artist. The close neighbour-hood of the blocks of the housing estate and its oblong shape (more than one kilometre long and one hundred meters wide) inspired the artist for a bold project of underground architecture, where the landscape becomes its facade. The undulating belt of greenery with hills, cascades, glass walls and skylights links the above-ground part with the “underground city”. The new models and enamels are based on the original design of organic shaping of space and they emphasize the importance of nature in man’s life.

Tichá Šárka – Red WorldA videodocument of the events Marking with Red Smoke, Šárka, 1983–85; Stalin (at the Festival of Contemporary Art TINA B. in Prague), Prague, 2007; aPEL, Olomouc, 2013Drawings with signalling smoke on canvas, 2005–2013property of the artistThe red signalling smoke wraps the immediate surroundings as well as its source in a dense cloud of smoke. Hazy contours in the distance form an impressive, vanishing image. Beside the mass of the place, the smoke visualizes its historical memory and its transitoriness. The red colour is a reminder of the fact that in this way the increasing series of socialist countries was shown in political maps. The cycle of large-size paintings reveals the artist’s principle of work with signalling smoke as a new visual form. The inability of capturing its shapes is supplemented with remnants of soot and with quotations in-scribed with pigments. By the reminder of the underestimated danger of the past times the document calls your attention to its importance in the contemporary context.

Crime Scenesspatial installation, Olomouc, 2013property of the artistThe blow-outs of documents of StB, the secret police, de-monstrate both the crimes of the Communist regime and the sophisticated manipulation and systematic dissemination of disinformation. The by now already absurd-looking information about the obligatory picking of the Colorado beetle and the subsequent punishment of individuals ignoring the campaign leave a bitter taste of machinery infiltrating the lives of the

people. A direct encounter with the recent past, hiding under the sign “strictly secret”, tells much about the personal commitment of the artist and invites a confrontation with the atmosphere of the era in which before her emigration she lived with the rest of the population of Czechoslovakia. To this day she has never remained indifferent to the issue of human rights.

Translocationspatial installation, Olomouc, 2013property of the artistThe built-in construction with a horizontal as well as vertical shift crosses the entrance space of the exhibition hall, which duplicates everything. Under the seeming unification with the surroundings is hidden an intensive tension between archi-tecture and space. The conflict reflects the dynamic labyrinth of passages, paths and mysterious corners in an originally open space, which is intensified by walls and pillars inclining along the vertical axis. The seemingly “falling” architecture makes its existing form relative and introduces a different experience of time and space. In connection with the acoustic element it impressively links the past with the present and invites ques-tions about the precise definition of time, space and man’s place in the world.

“Forget it”enamel, Ostrava-Vítkovice, 2013property of the artistMovement, speed and human action as an imprint of the cooperation with technology. The new view of matter and its rearrangement offers a way out from the vicious circle. The sym-bolical meaning of the event does not merely give a particular message but generally points to a possible escape from an otherwise precisely defined situation, sometimes intentionally suppressing the opportunity for one’s own, present or future, contribution.

(DES)ORIENTATION? spatial installation, Olomouc, 2013property of the artistThe installation of large-size mirror walls and their motion disturbs the common perception of space. The dynamic cha-racter of the foils dissolves the contours of reality and turns them into an irreal picture, which prevents man from reliably identifying the surroundings and oneself. Paradoxically only the quotation and the phrases on the mirrors remain motionless and legible, in spite of the movement of the surrounding area. The feeling of losing one’s own being and its fixed place in space invites questions about our historical development, the future heading towards a better perception and understanding one’s own position.

Iceland Project silverbaryt print, Iceland, 1992property of the artistThe line of light crossing the surface of the bleak countryside of Iceland visualizes something hidden in the depth of the ocean. The Central Atlantic mountain range stretching for some 15 00 kilometres on the sea floor is the geological boundary between America and Europe. On the border of the plates in the ocean crust lined with faults and plateaus unceasing changes take place, through which the present location of continents originated. The long seam may be seen with naked eye in Iceland only. The extreme case of its emergence to the surface of the Earth is made visible by a laser beam, which thus proves the unsurmountable and always free form of the borders of our world.

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Atlantic Wallsilverbaryt print, Denmark, 1994–95, property of the artistThe ferro-concrete forts lining the sea coast from Norway to Spain are unique historical evidence. The defensive belt of structures built against the invasion of the Allies, with bunkers, their openings for guns, and observation points stops in time the war strategy of the Third Reich. Nature altered the former monstrous structure and made it hard to recognize. Against the background of concrete monoliths, the thoughts of the French philosopher Paul Virilis about military space, violence and typology of fortresses get interlinked with the mythic character of the present-day ruins, symbolically “departing” into the sea.

Crossing King’s Cross silverbaryt print, London, 1996, property of the artistThe blow-outs of documents of StB, the secret police, demon-strate both the crimes of the Communist regime and the fine manipulations and systematic dissemination of disinformation. The by now already absurd-looking information about the obligatory picking of the Colorado beetle and the subsequent punishment of individuals ignoring the campaign hide the bitter taste of the machinery infiltrating the lives of the people. A direct encounter with the recent past, masked by the words “strictly secret”, tells much about the personal commitment of the artist and invites a confrontation with the atmosphere of the era in which before her emigration she lived with the rest of the population of Czechoslovakia. To this day she has never been indifferent to the issue of human rights.

Salon

Terrace

Cafe

Nave

Nave

WC

Underground Citymodel, plaster, Prague, 1982; model, palight, Bergheim, 2013silkscreen, enamel, Ostrava-Vítkovice, 2013; property of the artistAn underground garden centre in South Town, an unrealized project situated in the gap which arose by the construction of the metro on the outskirts of Prague, is shown in a plaster model dating from 1982. For years it was kept hidden from the eyes of the people as well as the artist. The close neighbour-hood of the blocks of the housing estate and its oblong shape (more than one kilometre long and one hundred meters wide) inspired the artist for a bold project of underground architecture, where the landscape becomes its facade. The undulating belt of greenery with hills, cascades, glass walls and skylights links the above-ground part with the “underground city”. The new models and enamels are based on the original design of organic shaping of space and they emphasize the importance of nature in man’s life.

Tichá Šárka – Red WorldA videodocument of the events Marking with Red Smoke, Šárka, 1983–85; Stalin (at the Festival of Contemporary Art TINA B. in Prague), Prague, 2007; aPEL, Olomouc, 2013Drawings with signalling smoke on canvas, 2005–2013property of the artistThe red signalling smoke wraps the immediate surroundings as well as its source in a dense cloud of smoke. Hazy contours in the distance form an impressive, vanishing image. Beside the mass of the place, the smoke visualizes its historical memory and its transitoriness. The red colour is a reminder of the fact that in this way the increasing series of socialist countries was shown in political maps. The cycle of large-size paintings reveals the artist’s principle of work with signalling smoke as a new visual form. The inability of capturing its shapes is supplemented with remnants of soot and with quotations in-scribed with pigments. By the reminder of the underestimated danger of the past times the document calls your attention to its importance in the contemporary context.

Crime Scenesspatial installation, Olomouc, 2013property of the artistThe blow-outs of documents of StB, the secret police, de-monstrate both the crimes of the Communist regime and the sophisticated manipulation and systematic dissemination of disinformation. The by now already absurd-looking information about the obligatory picking of the Colorado beetle and the subsequent punishment of individuals ignoring the campaign leave a bitter taste of machinery infiltrating the lives of the

people. A direct encounter with the recent past, hiding under the sign “strictly secret”, tells much about the personal commitment of the artist and invites a confrontation with the atmosphere of the era in which before her emigration she lived with the rest of the population of Czechoslovakia. To this day she has never remained indifferent to the issue of human rights.

Translocationspatial installation, Olomouc, 2013property of the artistThe built-in construction with a horizontal as well as vertical shift crosses the entrance space of the exhibition hall, which duplicates everything. Under the seeming unification with the surroundings is hidden an intensive tension between archi-tecture and space. The conflict reflects the dynamic labyrinth of passages, paths and mysterious corners in an originally open space, which is intensified by walls and pillars inclining along the vertical axis. The seemingly “falling” architecture makes its existing form relative and introduces a different experience of time and space. In connection with the acoustic element it impressively links the past with the present and invites ques-tions about the precise definition of time, space and man’s place in the world.

“Forget it”enamel, Ostrava-Vítkovice, 2013property of the artistMovement, speed and human action as an imprint of the cooperation with technology. The new view of matter and its rearrangement offers a way out from the vicious circle. The sym-bolical meaning of the event does not merely give a particular message but generally points to a possible escape from an otherwise precisely defined situation, sometimes intentionally suppressing the opportunity for one’s own, present or future, contribution.

(DES)ORIENTATION? spatial installation, Olomouc, 2013property of the artistThe installation of large-size mirror walls and their motion disturbs the common perception of space. The dynamic cha-racter of the foils dissolves the contours of reality and turns them into an irreal picture, which prevents man from reliably identifying the surroundings and oneself. Paradoxically only the quotation and the phrases on the mirrors remain motionless and legible, in spite of the movement of the surrounding area. The feeling of losing one’s own being and its fixed place in space invites questions about our historical development, the future heading towards a better perception and understanding one’s own position.

Iceland Project silverbaryt print, Iceland, 1992property of the artistThe line of light crossing the surface of the bleak countryside of Iceland visualizes something hidden in the depth of the ocean. The Central Atlantic mountain range stretching for some 15 000 kilometres on the sea floor is the geological boundary between America and Europe. On the border of the plates in the ocean crust lined with faults and plateaus unceasing changes take place, through which the present location of continents originated. The long seam may be seen with naked eye in Iceland only. The extreme case of its emergence to the surface of the Earth is made visible by a laser beam, which thus proves the unsurmountable and always free form of the borders of our world.

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Atlantic Wallsilverbaryt print, Denmark, 1994–95, property of the artistThe ferro-concrete forts lining the sea coast from Norway to Spain are unique historical evidence. The defensive belt of structures built against the invasion of the Allies, with bunkers, their openings for guns, and observation points stops in time the war strategy of the Third Reich. Nature altered the former monstrous structure and made it hard to recognize. Against the background of concrete monoliths, the thoughts of the French philosopher Paul Virilis about military space, violence and typology of fortresses get interlinked with the mythic character of the present-day ruins, symbolically “departing” into the sea.

Crossing King’s Cross silverbaryt print, London, 1996, property of the artistThe space of King´s Cross in central London is confronted with the planned modern high-speed railway lines which in the future will link people in time and space. The parallel laser lines radically cross a quiet night landscape of an apparent periphery of a big city. The transitional stagnation of derelict industrial buildings and storehouses is filled with the energy of motion and speed in the same area in the future, when it will become again a direct connection with the world.

Salon

Terrace

Cafe

Nave

Nave

WC

Underground Citymodel, plaster, Prague, 1982; model, palight, Bergheim, 2013silkscreen, enamel, Ostrava-Vítkovice, 2013; property of the artistAn underground garden centre in South Town, an unrealized project situated in the gap which arose by the construction of the metro on the outskirts of Prague, is shown in a plaster model dating from 1982. For years it was kept hidden from the eyes of the people as well as the artist. The close neighbour-hood of the blocks of the housing estate and its oblong shape (more than one kilometre long and one hundred meters wide) inspired the artist for a bold project of underground architecture, where the landscape becomes its facade. The undulating belt of greenery with hills, cascades, glass walls and skylights links the above-ground part with the “underground city”. The new models and enamels are based on the original design of organic shaping of space and they emphasize the importance of nature in man’s life.

Tichá Šárka – Red WorldA videodocument of the events Marking with Red Smoke, Šárka, 1983–85; Stalin (at the Festival of Contemporary Art TINA B. in Prague), Prague, 2007; aPEL, Olomouc, 2013Drawings with signalling smoke on canvas, 2005–2013property of the artistThe red signalling smoke wraps the immediate surroundings as well as its source in a dense cloud of smoke. Hazy contours in the distance form an impressive, vanishing image. Beside the mass of the place, the smoke visualizes its historical memory and its transitoriness. The red colour is a reminder of the fact that in this way the increasing series of socialist countries was shown in political maps. The cycle of large-size paintings reveals the artist’s principle of work with signalling smoke as a new visual form. The inability of capturing its shapes is supplemented with remnants of soot and with quotations in-scribed with pigments. By the reminder of the underestimated danger of the past times the document calls your attention to its importance in the contemporary context.

Crime Scenesspatial installation, Olomouc, 2013property of the artistThe blow-outs of documents of StB, the secret police, de-monstrate both the crimes of the Communist regime and the sophisticated manipulation and systematic dissemination of disinformation. The by now already absurd-looking information about the obligatory picking of the Colorado beetle and the subsequent punishment of individuals ignoring the campaign leave a bitter taste of machinery infiltrating the lives of the

people. A direct encounter with the recent past, hiding under the sign “strictly secret”, tells much about the personal commitment of the artist and invites a confrontation with the atmosphere of the era in which before her emigration she lived with the rest of the population of Czechoslovakia. To this day she has never remained indifferent to the issue of human rights.

Translocationspatial installation, Olomouc, 2013property of the artistThe built-in construction with a horizontal as well as vertical shift crosses the entrance space of the exhibition hall, which duplicates everything. Under the seeming unification with the surroundings is hidden an intensive tension between archi-tecture and space. The conflict reflects the dynamic labyrinth of passages, paths and mysterious corners in an originally open space, which is intensified by walls and pillars inclining along the vertical axis. The seemingly “falling” architecture makes its existing form relative and introduces a different experience of time and space. In connection with the acoustic element it impressively links the past with the present and invites ques-tions about the precise definition of time, space and man’s place in the world.

“Forget it”enamel, Ostrava-Vítkovice, 2013property of the artistMovement, speed and human action as an imprint of the cooperation with technology. The new view of matter and its rearrangement offers a way out from the vicious circle. The sym-bolical meaning of the event does not merely give a particular message but generally points to a possible escape from an otherwise precisely defined situation, sometimes intentionally suppressing the opportunity for one’s own, present or future, contribution.

(DES)ORIENTATION? spatial installation, Olomouc, 2013property of the artistThe installation of large-size mirror walls and their motion disturbs the common perception of space. The dynamic cha-racter of the foils dissolves the contours of reality and turns them into an irreal picture, which prevents man from reliably identifying the surroundings and oneself. Paradoxically only the quotation and the phrases on the mirrors remain motionless and legible, in spite of the movement of the surrounding area. The feeling of losing one’s own being and its fixed place in space invites questions about our historical development, the future heading towards a better perception and understanding one’s own position.

Iceland Project silverbaryt print, Iceland, 1992property of the artistThe line of light crossing the surface of the bleak countryside of Iceland visualizes something hidden in the depth of the ocean. The Central Atlantic mountain range stretching for some 15 000 kilometres on the sea floor is the geological boundary between America and Europe. On the border of the plates in the ocean crust lined with faults and plateaus unceasing changes take place, through which the present location of continents originated. The long seam may be seen with naked eye in Iceland only. The extreme case of its emergence to the surface of the Earth is made visible by a laser beam, which thus proves the unsurmountable and always free form of the borders of our world.

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Atlantic Wallsilverbaryt print, Denmark, 1994–95, property of the artistThe ferro-concrete forts lining the sea coast from Norway to Spain are unique historical evidence. The defensive belt of structures built against the invasion of the Allies, with bunkers, their openings for guns, and observation points stops in time the war strategy of the Third Reich. Nature altered the former monstrous structure and made it hard to recognize. Against the background of concrete monoliths, the thoughts of the French philosopher Paul Virilis about military space, violence and typology of fortresses get interlinked with the mythic character of the present-day ruins, symbolically “departing” into the sea.

Crossing King’s Cross silverbaryt print, London, 1996, property of the artistThe space of King´s Cross in central London is confronted with the planned modern high-speed railway lines which in the future will link people in time and space. The parallel laser lines radically cross a quiet night landscape of an apparent periphery of a big city. The transitional stagnation of derelict industrial buildings and storehouses is filled with the energy of motion and speed in the same area in the future, when it will become again a direct connection with the world.

Salon

Terrace

Cafe

Nave

Nave

WC

Underground Citymodel, plaster, Prague, 1982; model, palight, Bergheim, 2013silkscreen, enamel, Ostrava-Vítkovice, 2013; property of the artistAn underground garden centre in South Town, an unrealized project situated in the gap which arose by the construction of the metro on the outskirts of Prague, is shown in a plaster model dating from 1982. For years it was kept hidden from the eyes of the people as well as the artist. The close neighbour-hood of the blocks of the housing estate and its oblong shape (more than one kilometre long and one hundred meters wide) inspired the artist for a bold project of underground architecture, where the landscape becomes its facade. The undulating belt of greenery with hills, cascades, glass walls and skylights links the above-ground part with the “underground city”. The new models and enamels are based on the original design of organic shaping of space and they emphasize the importance of nature in man’s life.

Tichá Šárka – Red WorldA videodocument of the events Marking with Red Smoke, Šárka, 1983–85; Stalin (at the Festival of Contemporary Art TINA B. in Prague), Prague, 2007; aPEL, Olomouc, 2013Drawings with signalling smoke on canvas, 2005–2013property of the artistThe red signalling smoke wraps the immediate surroundings as well as its source in a dense cloud of smoke. Hazy contours in the distance form an impressive, vanishing image. Beside the mass of the place, the smoke visualizes its historical memory and its transitoriness. The red colour is a reminder of the fact that in this way the increasing series of socialist countries was shown in political maps. The cycle of large-size paintings reveals the artist’s principle of work with signalling smoke as a new visual form. The inability of capturing its shapes is supplemented with remnants of soot and with quotations in-scribed with pigments. By the reminder of the underestimated danger of the past times the document calls your attention to its importance in the contemporary context.

Crime Scenesspatial installation, Olomouc, 2013property of the artistThe blow-outs of documents of StB, the secret police, de-monstrate both the crimes of the Communist regime and the sophisticated manipulation and systematic dissemination of disinformation. The by now already absurd-looking information about the obligatory picking of the Colorado beetle and the subsequent punishment of individuals ignoring the campaign leave a bitter taste of machinery infiltrating the lives of the

people. A direct encounter with the recent past, hiding under the sign “strictly secret”, tells much about the personal commitment of the artist and invites a confrontation with the atmosphere of the era in which before her emigration she lived with the rest of the population of Czechoslovakia. To this day she has never remained indifferent to the issue of human rights.

Translocationspatial installation, Olomouc, 2013property of the artistThe built-in construction with a horizontal as well as vertical shift crosses the entrance space of the exhibition hall, which duplicates everything. Under the seeming unification with the surroundings is hidden an intensive tension between archi-tecture and space. The conflict reflects the dynamic labyrinth of passages, paths and mysterious corners in an originally open space, which is intensified by walls and pillars inclining along the vertical axis. The seemingly “falling” architecture makes its existing form relative and introduces a different experience of time and space. In connection with the acoustic element it impressively links the past with the present and invites ques-tions about the precise definition of time, space and man’s place in the world.

“Forget it”enamel, Ostrava-Vítkovice, 2013property of the artistMovement, speed and human action as an imprint of the cooperation with technology. The new view of matter and its rearrangement offers a way out from the vicious circle. The sym-bolical meaning of the event does not merely give a particular message but generally points to a possible escape from an otherwise precisely defined situation, sometimes intentionally suppressing the opportunity for one’s own, present or future, contribution.

(DES)ORIENTATION? spatial installation, Olomouc, 2013property of the artistThe installation of large-size mirror walls and their motion disturbs the common perception of space. The dynamic cha-racter of the foils dissolves the contours of reality and turns them into an irreal picture, which prevents man from reliably identifying the surroundings and oneself. Paradoxically only the quotation and the phrases on the mirrors remain motionless and legible, in spite of the movement of the surrounding area. The feeling of losing one’s own being and its fixed place in space invites questions about our historical development, the future heading towards a better perception and understanding one’s own position.

Iceland Project silverbaryt print, Iceland, 1992property of the artistThe line of light crossing the surface of the bleak countryside of Iceland visualizes something hidden in the depth of the ocean. The Central Atlantic mountain range stretching for some 15 00 kilometres on the sea floor is the geological boundary between America and Europe. On the border of the plates in the ocean crust lined with faults and plateaus unceasing changes take place, through which the present location of continents originated. The long seam may be seen with naked eye in Iceland only. The extreme case of its emergence to the surface of the Earth is made visible by a laser beam, which thus proves the unsurmountable and always free form of the borders of our world.

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Atlantic Wallsilverbaryt print, Denmark, 1994–95, property of the artistThe ferro-concrete forts lining the sea coast from Norway to Spain are unique historical evidence. The defensive belt of structures built against the invasion of the Allies, with bunkers, their openings for guns, and observation points stops in time the war strategy of the Third Reich. Nature altered the former monstrous structure and made it hard to recognize. Against the background of concrete monoliths, the thoughts of the French philosopher Paul Virilis about military space, violence and typology of fortresses get interlinked with the mythic character of the present-day ruins, symbolically “departing” into the sea.

Crossing King’s Cross silverbaryt print, London, 1996, property of the artistThe blow-outs of documents of StB, the secret police, demon-strate both the crimes of the Communist regime and the fine manipulations and systematic dissemination of disinformation. The by now already absurd-looking information about the obligatory picking of the Colorado beetle and the subsequent punishment of individuals ignoring the campaign hide the bitter taste of the machinery infiltrating the lives of the people. A direct encounter with the recent past, masked by the words “strictly secret”, tells much about the personal commitment of the artist and invites a confrontation with the atmosphere of the era in which before her emigration she lived with the rest of the population of Czechoslovakia. To this day she has never been indifferent to the issue of human rights.

Salon

Terrace

Cafe

Nave

Nave

WC

Vlastivědné muzeum

Museum of Modern

Art

Olomouc Archdiocesan

Museum

Regional Museum of Olomouc

Regional Museum in Olomouc

Holy Trinity Column

City HallAstronomical clock

The exhibition presents the work of Magdalena Jetelová (*1946), a noted Czech artist, one of contemporary visual artists who have achieved international acclaim. In the form of wooden chairs, staircases and other objects from the late 1970s and the first half of the 1980s she gave an ironic account of life under the Communist regime. Her participation at unofficial events resulted in her not being allowed to attend international exhibitions. Her artistic activity, often bordering on illegality, was reduced to the sphere of artists with a similar outlook on art. In 1983–84 she organized, in her former studio in Prague, an event with signalling smoke, thus visualizing the expansion of the “red” conglomeration. Dating from before her emigration is the by now legendary and still unfinished landart project, with the idea of an original underground space, called Underground City. After her emigration in 1985, her studio was destroyed. When she lived abroad, she never slackened off in her creative activity. As early as 1983 an invitation came to exhibit in the New Art at the Tate Gallery in London, as the only representative of the Eastern Block countries, and then gradually Magdalena Jetelová joined the international artistic scene.

Sculpture became her original stepping out, outside the galleries. She began to deal with relations between an object and space. She deconstrues the present form of architecture by a new visuality, destabilizes its face by intentional reversal or repetition of elements, and by a general shift in time she uncovers remote or excluded contexts. She was one of the first artists from the post-Communist countries to start applying new technologies and laser light and made use of coded language of GPS coordinates as well as of modern robotic systems. In the continuously improving technology of new media she has found an opportunity for a revival of communication and for mediation of uncommon emotional experience. She is flexible in her response to place, she extracts it from the common con-text and alters its structure, with the aim of perceiving different

interlayers of time and space. She never forgets social aspects either, such as human reights and care of environment.

In 1992–1995 she implemented her monumental project Domestication of Pyramids in several cultural institutions in Europe, in which she confronted their exhibition space with the strict geometry of Egyptian architecture. Among her other remarkable installations are Translocation I and II in Hannover and Darmstadt in Germany, where she worked with dynamic shifts in space and time. A direct reaction to place itself is found in her other time-cum-space structures. With light beams she marks out directions and makes division or linking visible (Island Project, 1992, Atlantic Wall, 1994–95; Crossing King’s Cross, 1996). Ground for her complex creations is found close to landart, conceptual art, and action.

Magdalena Jetelová in 1990–2004 was teacher at the Sta-te Art Academy in Düsseldorf, from 2004 to the end of 2012 professor at the Academy in Munich. After 1989 she was a consultant to President Václav Havel in the Prague Castle. She exhibited in many prestigious galleries of the world (e.g. Museu d’Art Contemporani de Barcelona, Tate Gallery of Art London, Museum of Modern Art New York, Chicago Art Center, Martin-Grophius-Bau Berlin, Zachęta Narodowa Galeria Sztuki Warszawa), took part in international exhibitions (Dokumenta 8 in Kassel, Sydney Biennale, Gwangju Biennale in South Korea, 54th Bienale in Venice). On the occasion of being awarded the Lovis Corinth Prize in 2007, a large monograph about her was published. Her work is found in leading world collections, e.g. in Paris in the Musée National d‘Art Moderne Centre G. Pompidou, in the Museum der Stadt Darmstadt, The Henry Moore Institute Leeds, The Hirshhorn Museum and Sculpture Garden in Washington D.C., The National Gallery in Prague.

In the exhibition project (DES)ORIENTATION? Projects from 1982–2013 the space structures are presented through dynamic light and visualization of hidden energy. Also on display are her latest works using a text or smoke, thus referring to the recent common history of the former post-Communist countries. In a world premiere, the artist is introducing the project of an underground garden centre, designed in contrast to the prevai-ling stream of the uniform housing estate of South Town. The uniqueness of the project is borne out by the fact of this being only the third independent exhibition of Magdalena Jetelová in her original home country. She prepared it specially for the Olomouc Museum and with the smoke event at the opening of the exhibition she is inviting you to active participation in this project by an artist from Central and Eastern Europe.

Accompanying programme

Animation programme

What art can do / Space without limitsAnimation programme for the youngest (age 2-6)Thursday / 5 September 2013 / 10:00–11:00 and 15:30–16:30Museum of Modern Art The animation programme from the cycle “What art can do“ will be a space puzzle associated with the exhibition of Magdalena Jetelová. The story of place, material and time will become inspiration for an art game involving all senses. Entrance is free but for each event a reservation is necessary! Information and reservations: Michaela Johnová Čapková, johncapkova@olmuart.cz, tel.: 585 514 174

From where to where?Animation programme accompanying the exhibition What is space? Who are we and where is our place in it? Can space transform us? And can we transform space? Can we illuminate it? And can we achieve enlightenment? Which is the way in and which out? And what is this city? What to do in order not to get lost in it? How not to lose oneself and not lend a hand to evil? These are all complicated questions. Answers to them will be sought by students together with lecturer David Hrbek and by performing a few practical tasks and playing games in space and with space. The programme is suitable for pupils aged 11-15 and for se-condary school students. Information and reservations: David Hrbek, hrbek@olmuart.cz, tel.: 585 514 213

Commented tours

Tue / 11 June 2013 / 5 p. m. / Museum of Modern ArtTue / 24 September 2013 / 5 p. m. / Museum of Modern Art Your guide at the exhibition will be its curator Olga Staníková

Lecture on the exhibition

Tue / 1 October 2013 / 5 p. m. Museum of Modern Art / Lecture HallArchitecture and public spacedoc. PhDr. Petr Kratochvíl, CSc. M

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rtMAGDALENA JETELOVÁ(DES)ORIENTATION?Projects from 1982–2013

30 May – 27 October 2013 Olomouc Museum of ArtMuseum of Modern Art

exhibition

author of the exhibition Magdalena Jetelovácurators of the exhibition Michal Soukup, Olga Staníkováarchitectural design Magdalena Jetelová, Marek Novák, Michal Soukuptranslation Jaroslav Peprníkimplementation Jan Černý, Jan Hanák, Roman Holub, Lea Letzel, Richard Loskot, Matěj Neubert, Fabian Offert, René Rohan, Petr Sláma, Milan Tomeček, Kamil Zajíčekgraphic design Magdalena Jetelová, Beata Rakowská, Petr Šmalecphotographs the author‘s archive, Lumír Čuříkinstallation Vlastimil Sedláček, Filip Šindelář, Ondřej Žákpromotion Petr Bielesz

The exhibition was prepared in cooperation with Ministry of Culture of the Czech Republic, Municipality of Olomouc, Olomouc Region, Institute for the Study of Totalitarian Regimes, Lower Area of Vítkovice Association, Vítkovice Power Engineering, a subsidiary of Vítkovice, Ltd.

The exhibition is held under the auspices of the Deputy Prime Minister and Minister of Foreign Affairs of the Czech Republic Karel Schwarzenberg.

Underground City / silkscreen, enamel, Ostrava-Vítkovice, 2013, property of the artist

media partners

partners

Olomouc Archdiocesan Museum | Václavské nám. 3, 771 11 Olomouc

Museum of Modern Art | Denisova 47 | 771 11 Olomouc

Admission fee: Full: CZK 50 | Reduced: CZK 25 The ticket is valid on the day of purchase for both the Archdiocesan Museum and the Museum of Modern Art | Opening Hours: daily, except Mondays | 10 a.m. – 6 p.m.

Kroměříž Archdiocesan Museum | Sněmovní nám 1 | 767 01 Kroměříž

Admission fee | Opening hours: See the list of admission and opening hours of the Archiepiscopal Chateau and Gardens in Kroměříž | www.azz.cz

Information: info@olmuart.cz | tel: 585 514 111 | www.olmuart.cz

Vlastivědné muzeum

Museum of Modern

Art

Olomouc Archdiocesan

Museum

Regional Museum of Olomouc

Regional Museum in Olomouc

Holy Trinity Column

City HallAstronomical clock

The exhibition presents the work of Magdalena Jetelová (*1946), a noted Czech artist, one of contemporary visual artists who have achieved international acclaim. In the form of wooden chairs, staircases and other objects from the late 1970s and the first half of the 1980s she gave an ironic account of life under the Communist regime. Her participation at unofficial events resulted in her not being allowed to attend international exhibitions. Her artistic activity, often bordering on illegality, was reduced to the sphere of artists with a similar outlook on art. In 1983–84 she organized, in her former studio in Prague, an event with signalling smoke, thus visualizing the expansion of the “red” conglomeration. Dating from before her emigration is the by now legendary and still unfinished landart project, with the idea of an original underground space, called Underground City. After her emigration in 1985, her studio was destroyed. When she lived abroad, she never slackened off in her creative activity. As early as 1983 an invitation came to exhibit in the New Art at the Tate Gallery in London, as the only representative of the Eastern Block countries, and then gradually Magdalena Jetelová joined the international artistic scene.

Sculpture became her original stepping out, outside the galleries. She began to deal with relations between an object and space. She deconstrues the present form of architecture by a new visuality, destabilizes its face by intentional reversal or repetition of elements, and by a general shift in time she uncovers remote or excluded contexts. She was one of the first artists from the post-Communist countries to start applying new technologies and laser light and made use of coded language of GPS coordinates as well as of modern robotic systems. In the continuously improving technology of new media she has found an opportunity for a revival of communication and for mediation of uncommon emotional experience. She is flexible in her response to place, she extracts it from the common con-text and alters its structure, with the aim of perceiving different

interlayers of time and space. She never forgets social aspects either, such as human reights and care of environment.

In 1992–1995 she implemented her monumental project Domestication of Pyramids in several cultural institutions in Europe, in which she confronted their exhibition space with the strict geometry of Egyptian architecture. Among her other remarkable installations are Translocation I and II in Hannover and Darmstadt in Germany, where she worked with dynamic shifts in space and time. A direct reaction to place itself is found in her other time-cum-space structures. With light beams she marks out directions and makes division or linking visible (Island Project, 1992, Atlantic Wall, 1994–95; Crossing King’s Cross, 1996). Ground for her complex creations is found close to landart, conceptual art, and action.

Magdalena Jetelová in 1990–2004 was teacher at the Sta-te Art Academy in Düsseldorf, from 2004 to the end of 2012 professor at the Academy in Munich. After 1989 she was a consultant to President Václav Havel in the Prague Castle. She exhibited in many prestigious galleries of the world (e.g. Museu d’Art Contemporani de Barcelona, Tate Gallery of Art London, Museum of Modern Art New York, Chicago Art Center, Martin-Grophius-Bau Berlin, Zachęta Narodowa Galeria Sztuki Warszawa), took part in international exhibitions (Dokumenta 8 in Kassel, Sydney Biennale, Gwangju Biennale in South Korea, 54th Bienale in Venice). On the occasion of being awarded the Lovis Corinth Prize in 2007, a large monograph about her was published. Her work is found in leading world collections, e.g. in Paris in the Musée National d‘Art Moderne Centre G. Pompidou, in the Museum der Stadt Darmstadt, The Henry Moore Institute Leeds, The Hirshhorn Museum and Sculpture Garden in Washington D.C., The National Gallery in Prague.

In the exhibition project (DES)ORIENTATION? Projects from 1982–2013 the space structures are presented through dynamic light and visualization of hidden energy. Also on display are her latest works using a text or smoke, thus referring to the recent common history of the former post-Communist countries. In a world premiere, the artist is introducing the project of an underground garden centre, designed in contrast to the prevai-ling stream of the uniform housing estate of South Town. The uniqueness of the project is borne out by the fact of this being only the third independent exhibition of Magdalena Jetelová in her original home country. She prepared it specially for the Olomouc Museum and with the smoke event at the opening of the exhibition she is inviting you to active participation in this project by an artist from Central and Eastern Europe.

Accompanying programme

Animation programme

What art can do / Space without limitsAnimation programme for the youngest (age 2-6)Thursday / 5 September 2013 / 10:00–11:00 and 15:30–16:30Museum of Modern Art The animation programme from the cycle “What art can do“ will be a space puzzle associated with the exhibition of Magdalena Jetelová. The story of place, material and time will become inspiration for an art game involving all senses. Entrance is free but for each event a reservation is necessary! Information and reservations: Michaela Johnová Čapková, johncapkova@olmuart.cz, tel.: 585 514 174

From where to where?Animation programme accompanying the exhibition What is space? Who are we and where is our place in it? Can space transform us? And can we transform space? Can we illuminate it? And can we achieve enlightenment? Which is the way in and which out? And what is this city? What to do in order not to get lost in it? How not to lose oneself and not lend a hand to evil? These are all complicated questions. Answers to them will be sought by students together with lecturer David Hrbek and by performing a few practical tasks and playing games in space and with space. The programme is suitable for pupils aged 11-15 and for se-condary school students. Information and reservations: David Hrbek, hrbek@olmuart.cz, tel.: 585 514 213

Commented tours

Tue / 11 June 2013 / 5 p. m. / Museum of Modern ArtTue / 24 September 2013 / 5 p. m. / Museum of Modern Art Your guide at the exhibition will be its curator Olga Staníková

Lecture on the exhibition

Tue / 1 October 2013 / 5 p. m. Museum of Modern Art / Lecture HallArchitecture and public spacedoc. PhDr. Petr Kratochvíl, CSc. M

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Mu

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m o

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rtMAGDALENA JETELOVÁ(DES)ORIENTATION?Projects from 1982–2013

30 May – 27 October 2013 Olomouc Museum of ArtMuseum of Modern Art

exhibition

author of the exhibition Magdalena Jetelovácurators of the exhibition Michal Soukup, Olga Staníkováarchitectural design Magdalena Jetelová, Marek Novák, Michal Soukuptranslation Jaroslav Peprníkimplementation Jan Černý, Jan Hanák, Roman Holub, Lea Letzel, Richard Loskot, Matěj Neubert, Fabian Offert, René Rohan, Petr Sláma, Milan Tomeček, Kamil Zajíčekgraphic design Magdalena Jetelová, Beata Rakowská, Petr Šmalecphotographs the author‘s archive, Lumír Čuříkinstallation Vlastimil Sedláček, Filip Šindelář, Ondřej Žákpromotion Petr Bielesz

The exhibition was prepared in cooperation with Ministry of Culture of the Czech Republic, Municipality of Olomouc, Olomouc Region, Institute for the Study of Totalitarian Regimes, Lower Area of Vítkovice Association, Vítkovice Power Engineering, a subsidiary of Vítkovice, Ltd.

The exhibition is held under the auspices of the Deputy Prime Minister and Minister of Foreign Affairs of the Czech Republic Karel Schwarzenberg.

Underground City / silkscreen, enamel, Ostrava-Vítkovice, 2013, property of the artist

media partners

partners

Olomouc Archdiocesan Museum | Václavské nám. 3, 771 11 Olomouc

Museum of Modern Art | Denisova 47 | 771 11 Olomouc

Admission fee: Full: CZK 50 | Reduced: CZK 25 The ticket is valid on the day of purchase for both the Archdiocesan Museum and the Museum of Modern Art | Opening Hours: daily, except Mondays | 10 a.m. – 6 p.m.

Kroměříž Archdiocesan Museum | Sněmovní nám 1 | 767 01 Kroměříž

Admission fee | Opening hours: See the list of admission and opening hours of the Archiepiscopal Chateau and Gardens in Kroměříž | www.azz.cz

Information: info@olmuart.cz | tel: 585 514 111 | www.olmuart.cz

Vlastivědné muzeum

Museum of Modern

Art

Olomouc Archdiocesan

Museum

Regional Museum of Olomouc

Regional Museum in Olomouc

Holy Trinity Column

City HallAstronomical clock

The exhibition presents the work of Magdalena Jetelová (*1946), a noted Czech artist, one of contemporary visual artists who have achieved international acclaim. In the form of wooden chairs, staircases and other objects from the late 1970s and the first half of the 1980s she gave an ironic account of life under the Communist regime. Her participation at unofficial events resulted in her not being allowed to attend international exhibitions. Her artistic activity, often bordering on illegality, was reduced to the sphere of artists with a similar outlook on art. In 1983–84 she organized, in her former studio in Prague, an event with signalling smoke, thus visualizing the expansion of the “red” conglomeration. Dating from before her emigration is the by now legendary and still unfinished landart project, with the idea of an original underground space, called Underground City. After her emigration in 1985, her studio was destroyed. When she lived abroad, she never slackened off in her creative activity. As early as 1983 an invitation came to exhibit in the New Art at the Tate Gallery in London, as the only representative of the Eastern Block countries, and then gradually Magdalena Jetelová joined the international artistic scene.

Sculpture became her original stepping out, outside the galleries. She began to deal with relations between an object and space. She deconstrues the present form of architecture by a new visuality, destabilizes its face by intentional reversal or repetition of elements, and by a general shift in time she uncovers remote or excluded contexts. She was one of the first artists from the post-Communist countries to start applying new technologies and laser light and made use of coded language of GPS coordinates as well as of modern robotic systems. In the continuously improving technology of new media she has found an opportunity for a revival of communication and for mediation of uncommon emotional experience. She is flexible in her response to place, she extracts it from the common con-text and alters its structure, with the aim of perceiving different

interlayers of time and space. She never forgets social aspects either, such as human reights and care of environment.

In 1992–1995 she implemented her monumental project Domestication of Pyramids in several cultural institutions in Europe, in which she confronted their exhibition space with the strict geometry of Egyptian architecture. Among her other remarkable installations are Translocation I and II in Hannover and Darmstadt in Germany, where she worked with dynamic shifts in space and time. A direct reaction to place itself is found in her other time-cum-space structures. With light beams she marks out directions and makes division or linking visible (Island Project, 1992, Atlantic Wall, 1994–95; Crossing King’s Cross, 1996). Ground for her complex creations is found close to landart, conceptual art, and action.

Magdalena Jetelová in 1990–2004 was teacher at the Sta-te Art Academy in Düsseldorf, from 2004 to the end of 2012 professor at the Academy in Munich. After 1989 she was a consultant to President Václav Havel in the Prague Castle. She exhibited in many prestigious galleries of the world (e.g. Museu d’Art Contemporani de Barcelona, Tate Gallery of Art London, Museum of Modern Art New York, Chicago Art Center, Martin-Grophius-Bau Berlin, Zachęta Narodowa Galeria Sztuki Warszawa), took part in international exhibitions (Dokumenta 8 in Kassel, Sydney Biennale, Gwangju Biennale in South Korea, 54th Bienale in Venice). On the occasion of being awarded the Lovis Corinth Prize in 2007, a large monograph about her was published. Her work is found in leading world collections, e.g. in Paris in the Musée National d‘Art Moderne Centre G. Pompidou, in the Museum der Stadt Darmstadt, The Henry Moore Institute Leeds, The Hirshhorn Museum and Sculpture Garden in Washington D.C., The National Gallery in Prague.

In the exhibition project (DES)ORIENTATION? Projects from 1982–2013 the space structures are presented through dynamic light and visualization of hidden energy. Also on display are her latest works using a text or smoke, thus referring to the recent common history of the former post-Communist countries. In a world premiere, the artist is introducing the project of an underground garden centre, designed in contrast to the prevai-ling stream of the uniform housing estate of South Town. The uniqueness of the project is borne out by the fact of this being only the third independent exhibition of Magdalena Jetelová in her original home country. She prepared it specially for the Olomouc Museum and with the smoke event at the opening of the exhibition she is inviting you to active participation in this project by an artist from Central and Eastern Europe.

Accompanying programme

Animation programme

What art can do / Space without limitsAnimation programme for the youngest (age 2-6)Thursday / 5 September 2013 / 10:00–11:00 and 15:30–16:30Museum of Modern Art The animation programme from the cycle “What art can do“ will be a space puzzle associated with the exhibition of Magdalena Jetelová. The story of place, material and time will become inspiration for an art game involving all senses. Entrance is free but for each event a reservation is necessary! Information and reservations: Michaela Johnová Čapková, johncapkova@olmuart.cz, tel.: 585 514 174

From where to where?Animation programme accompanying the exhibition What is space? Who are we and where is our place in it? Can space transform us? And can we transform space? Can we illuminate it? And can we achieve enlightenment? Which is the way in and which out? And what is this city? What to do in order not to get lost in it? How not to lose oneself and not lend a hand to evil? These are all complicated questions. Answers to them will be sought by students together with lecturer David Hrbek and by performing a few practical tasks and playing games in space and with space. The programme is suitable for pupils aged 11-15 and for se-condary school students. Information and reservations: David Hrbek, hrbek@olmuart.cz, tel.: 585 514 213

Commented tours

Tue / 11 June 2013 / 5 p. m. / Museum of Modern ArtTue / 24 September 2013 / 5 p. m. / Museum of Modern Art Your guide at the exhibition will be its curator Olga Staníková

Lecture on the exhibition

Tue / 1 October 2013 / 5 p. m. Museum of Modern Art / Lecture HallArchitecture and public spacedoc. PhDr. Petr Kratochvíl, CSc. M

AG

DA

LE

NA

JE

TE

LOVÁ

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198

2–20

13 /

Olo

mo

uc

Mu

seu

m o

f A

rtMAGDALENA JETELOVÁ(DES)ORIENTATION?Projects from 1982–2013

30 May – 27 October 2013 Olomouc Museum of ArtMuseum of Modern Art

exhibition

author of the exhibition Magdalena Jetelovácurators of the exhibition Michal Soukup, Olga Staníkováarchitectural design Magdalena Jetelová, Marek Novák, Michal Soukuptranslation Jaroslav Peprníkimplementation Jan Černý, Jan Hanák, Roman Holub, Lea Letzel, Richard Loskot, Matěj Neubert, Fabian Offert, René Rohan, Petr Sláma, Milan Tomeček, Kamil Zajíčekgraphic design Magdalena Jetelová, Beata Rakowská, Petr Šmalecphotographs the author‘s archive, Lumír Čuříkinstallation Vlastimil Sedláček, Filip Šindelář, Ondřej Žákpromotion Petr Bielesz

The exhibition was prepared in cooperation with Ministry of Culture of the Czech Republic, Municipality of Olomouc, Olomouc Region, Institute for the Study of Totalitarian Regimes, Lower Area of Vítkovice Association, Vítkovice Power Engineering, a subsidiary of Vítkovice, Ltd.

The exhibition is held under the auspices of the Deputy Prime Minister and Minister of Foreign Affairs of the Czech Republic Karel Schwarzenberg.

Underground City / silkscreen, enamel, Ostrava-Vítkovice, 2013, property of the artist

media partners

partners

Olomouc Archdiocesan Museum | Václavské nám. 3, 771 11 Olomouc

Museum of Modern Art | Denisova 47 | 771 11 Olomouc

Admission fee: Full: CZK 50 | Reduced: CZK 25 The ticket is valid on the day of purchase for both the Archdiocesan Museum and the Museum of Modern Art | Opening Hours: daily, except Mondays | 10 a.m. – 6 p.m.

Kroměříž Archdiocesan Museum | Sněmovní nám 1 | 767 01 Kroměříž

Admission fee | Opening hours: See the list of admission and opening hours of the Archiepiscopal Chateau and Gardens in Kroměříž | www.azz.cz

Information: info@olmuart.cz | tel: 585 514 111 | www.olmuart.cz

Vlastivědné muzeum

Museum of Modern

Art

Olomouc Archdiocesan

Museum

Regional Museum of Olomouc

Regional Museum in Olomouc

Holy Trinity Column

City HallAstronomical clock

The exhibition presents the work of Magdalena Jetelová (*1946), a noted Czech artist, one of contemporary visual artists who have achieved international acclaim. In the form of wooden chairs, staircases and other objects from the late 1970s and the first half of the 1980s she gave an ironic account of life under the Communist regime. Her participation at unofficial events resulted in her not being allowed to attend international exhibitions. Her artistic activity, often bordering on illegality, was reduced to the sphere of artists with a similar outlook on art. In 1983–84 she organized, in her former studio in Prague, an event with signalling smoke, thus visualizing the expansion of the “red” conglomeration. Dating from before her emigration is the by now legendary and still unfinished landart project, with the idea of an original underground space, called Underground City. After her emigration in 1985, her studio was destroyed. When she lived abroad, she never slackened off in her creative activity. As early as 1983 an invitation came to exhibit in the New Art at the Tate Gallery in London, as the only representative of the Eastern Block countries, and then gradually Magdalena Jetelová joined the international artistic scene.

Sculpture became her original stepping out, outside the galleries. She began to deal with relations between an object and space. She deconstrues the present form of architecture by a new visuality, destabilizes its face by intentional reversal or repetition of elements, and by a general shift in time she uncovers remote or excluded contexts. She was one of the first artists from the post-Communist countries to start applying new technologies and laser light and made use of coded language of GPS coordinates as well as of modern robotic systems. In the continuously improving technology of new media she has found an opportunity for a revival of communication and for mediation of uncommon emotional experience. She is flexible in her response to place, she extracts it from the common con-text and alters its structure, with the aim of perceiving different

interlayers of time and space. She never forgets social aspects either, such as human reights and care of environment.

In 1992–1995 she implemented her monumental project Domestication of Pyramids in several cultural institutions in Europe, in which she confronted their exhibition space with the strict geometry of Egyptian architecture. Among her other remarkable installations are Translocation I and II in Hannover and Darmstadt in Germany, where she worked with dynamic shifts in space and time. A direct reaction to place itself is found in her other time-cum-space structures. With light beams she marks out directions and makes division or linking visible (Island Project, 1992, Atlantic Wall, 1994–95; Crossing King’s Cross, 1996). Ground for her complex creations is found close to landart, conceptual art, and action.

Magdalena Jetelová in 1990–2004 was teacher at the Sta-te Art Academy in Düsseldorf, from 2004 to the end of 2012 professor at the Academy in Munich. After 1989 she was a consultant to President Václav Havel in the Prague Castle. She exhibited in many prestigious galleries of the world (e.g. Museu d’Art Contemporani de Barcelona, Tate Gallery of Art London, Museum of Modern Art New York, Chicago Art Center, Martin-Grophius-Bau Berlin, Zachęta Narodowa Galeria Sztuki Warszawa), took part in international exhibitions (Dokumenta 8 in Kassel, Sydney Biennale, Gwangju Biennale in South Korea, 54th Bienale in Venice). On the occasion of being awarded the Lovis Corinth Prize in 2007, a large monograph about her was published. Her work is found in leading world collections, e.g. in Paris in the Musée National d‘Art Moderne Centre G. Pompidou, in the Museum der Stadt Darmstadt, The Henry Moore Institute Leeds, The Hirshhorn Museum and Sculpture Garden in Washington D.C., The National Gallery in Prague.

In the exhibition project (DES)ORIENTATION? Projects from 1982–2013 the space structures are presented through dynamic light and visualization of hidden energy. Also on display are her latest works using a text or smoke, thus referring to the recent common history of the former post-Communist countries. In a world premiere, the artist is introducing the project of an underground garden centre, designed in contrast to the prevai-ling stream of the uniform housing estate of South Town. The uniqueness of the project is borne out by the fact of this being only the third independent exhibition of Magdalena Jetelová in her original home country. She prepared it specially for the Olomouc Museum and with the smoke event at the opening of the exhibition she is inviting you to active participation in this project by an artist from Central and Eastern Europe.

Accompanying programme

Animation programme

What art can do / Space without limitsAnimation programme for the youngest (age 2-6)Thursday / 5 September 2013 / 10:00–11:00 and 15:30–16:30Museum of Modern Art The animation programme from the cycle “What art can do“ will be a space puzzle associated with the exhibition of Magdalena Jetelová. The story of place, material and time will become inspiration for an art game involving all senses. Entrance is free but for each event a reservation is necessary! Information and reservations: Michaela Johnová Čapková, johncapkova@olmuart.cz, tel.: 585 514 174

From where to where?Animation programme accompanying the exhibition What is space? Who are we and where is our place in it? Can space transform us? And can we transform space? Can we illuminate it? And can we achieve enlightenment? Which is the way in and which out? And what is this city? What to do in order not to get lost in it? How not to lose oneself and not lend a hand to evil? These are all complicated questions. Answers to them will be sought by students together with lecturer David Hrbek and by performing a few practical tasks and playing games in space and with space. The programme is suitable for pupils aged 11-15 and for se-condary school students. Information and reservations: David Hrbek, hrbek@olmuart.cz, tel.: 585 514 213

Commented tours

Tue / 11 June 2013 / 5 p. m. / Museum of Modern ArtTue / 24 September 2013 / 5 p. m. / Museum of Modern Art Your guide at the exhibition will be its curator Olga Staníková

Lecture on the exhibition

Tue / 1 October 2013 / 5 p. m. Museum of Modern Art / Lecture HallArchitecture and public spacedoc. PhDr. Petr Kratochvíl, CSc. M

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rtMAGDALENA JETELOVÁ(DES)ORIENTATION?Projects from 1982–2013

30 May – 27 October 2013 Olomouc Museum of ArtMuseum of Modern Art

exhibition

author of the exhibition Magdalena Jetelovácurators of the exhibition Michal Soukup, Olga Staníkováarchitectural design Magdalena Jetelová, Marek Novák, Michal Soukuptranslation Jaroslav Peprníkimplementation Jan Černý, Jan Hanák, Roman Holub, Lea Letzel, Richard Loskot, Matěj Neubert, Fabian Offert, René Rohan, Petr Sláma, Milan Tomeček, Kamil Zajíčekgraphic design Magdalena Jetelová, Beata Rakowská, Petr Šmalecphotographs the author‘s archive, Lumír Čuříkinstallation Vlastimil Sedláček, Filip Šindelář, Ondřej Žákpromotion Petr Bielesz

The exhibition was prepared in cooperation with Ministry of Culture of the Czech Republic, Municipality of Olomouc, Olomouc Region, Institute for the Study of Totalitarian Regimes, Lower Area of Vítkovice Association, Vítkovice Power Engineering, a subsidiary of Vítkovice, Ltd.

The exhibition is held under the auspices of the Deputy Prime Minister and Minister of Foreign Affairs of the Czech Republic Karel Schwarzenberg.

Underground City / silkscreen, enamel, Ostrava-Vítkovice, 2013, property of the artist

media partners

partners

Olomouc Archdiocesan Museum | Václavské nám. 3, 771 11 Olomouc

Museum of Modern Art | Denisova 47 | 771 11 Olomouc

Admission fee: Full: CZK 50 | Reduced: CZK 25 The ticket is valid on the day of purchase for both the Archdiocesan Museum and the Museum of Modern Art | Opening Hours: daily, except Mondays | 10 a.m. – 6 p.m.

Kroměříž Archdiocesan Museum | Sněmovní nám 1 | 767 01 Kroměříž

Admission fee | Opening hours: See the list of admission and opening hours of the Archiepiscopal Chateau and Gardens in Kroměříž | www.azz.cz

Information: info@olmuart.cz | tel: 585 514 111 | www.olmuart.cz

Vlastivědné muzeum

Museum of Modern

Art

Olomouc Archdiocesan

Museum

Regional Museum of Olomouc

Regional Museum in Olomouc

Holy Trinity Column

City HallAstronomical clock

The exhibition presents the work of Magdalena Jetelová (*1946), a noted Czech artist, one of contemporary visual artists who have achieved international acclaim. In the form of wooden chairs, staircases and other objects from the late 1970s and the first half of the 1980s she gave an ironic account of life under the Communist regime. Her participation at unofficial events resulted in her not being allowed to attend international exhibitions. Her artistic activity, often bordering on illegality, was reduced to the sphere of artists with a similar outlook on art. In 1983–84 she organized, in her former studio in Prague, an event with signalling smoke, thus visualizing the expansion of the “red” conglomeration. Dating from before her emigration is the by now legendary and still unfinished landart project, with the idea of an original underground space, called Underground City. After her emigration in 1985, her studio was destroyed. When she lived abroad, she never slackened off in her creative activity. As early as 1983 an invitation came to exhibit in the New Art at the Tate Gallery in London, as the only representative of the Eastern Block countries, and then gradually Magdalena Jetelová joined the international artistic scene.

Sculpture became her original stepping out, outside the galleries. She began to deal with relations between an object and space. She deconstrues the present form of architecture by a new visuality, destabilizes its face by intentional reversal or repetition of elements, and by a general shift in time she uncovers remote or excluded contexts. She was one of the first artists from the post-Communist countries to start applying new technologies and laser light and made use of coded language of GPS coordinates as well as of modern robotic systems. In the continuously improving technology of new media she has found an opportunity for a revival of communication and for mediation of uncommon emotional experience. She is flexible in her response to place, she extracts it from the common con-text and alters its structure, with the aim of perceiving different

interlayers of time and space. She never forgets social aspects either, such as human reights and care of environment.

In 1992–1995 she implemented her monumental project Domestication of Pyramids in several cultural institutions in Europe, in which she confronted their exhibition space with the strict geometry of Egyptian architecture. Among her other remarkable installations are Translocation I and II in Hannover and Darmstadt in Germany, where she worked with dynamic shifts in space and time. A direct reaction to place itself is found in her other time-cum-space structures. With light beams she marks out directions and makes division or linking visible (Island Project, 1992, Atlantic Wall, 1994–95; Crossing King’s Cross, 1996). Ground for her complex creations is found close to landart, conceptual art, and action.

Magdalena Jetelová in 1990–2004 was teacher at the Sta-te Art Academy in Düsseldorf, from 2004 to the end of 2012 professor at the Academy in Munich. After 1989 she was a consultant to President Václav Havel in the Prague Castle. She exhibited in many prestigious galleries of the world (e.g. Museu d’Art Contemporani de Barcelona, Tate Gallery of Art London, Museum of Modern Art New York, Chicago Art Center, Martin-Grophius-Bau Berlin, Zachęta Narodowa Galeria Sztuki Warszawa), took part in international exhibitions (Dokumenta 8 in Kassel, Sydney Biennale, Gwangju Biennale in South Korea, 54th Bienale in Venice). On the occasion of being awarded the Lovis Corinth Prize in 2007, a large monograph about her was published. Her work is found in leading world collections, e.g. in Paris in the Musée National d‘Art Moderne Centre G. Pompidou, in the Museum der Stadt Darmstadt, The Henry Moore Institute Leeds, The Hirshhorn Museum and Sculpture Garden in Washington D.C., The National Gallery in Prague.

In the exhibition project (DES)ORIENTATION? Projects from 1982–2013 the space structures are presented through dynamic light and visualization of hidden energy. Also on display are her latest works using a text or smoke, thus referring to the recent common history of the former post-Communist countries. In a world premiere, the artist is introducing the project of an underground garden centre, designed in contrast to the prevai-ling stream of the uniform housing estate of South Town. The uniqueness of the project is borne out by the fact of this being only the third independent exhibition of Magdalena Jetelová in her original home country. She prepared it specially for the Olomouc Museum and with the smoke event at the opening of the exhibition she is inviting you to active participation in this project by an artist from Central and Eastern Europe.

Accompanying programme

Animation programme

What art can do / Space without limitsAnimation programme for the youngest (age 2-6)Thursday / 5 September 2013 / 10:00–11:00 and 15:30–16:30Museum of Modern Art The animation programme from the cycle “What art can do“ will be a space puzzle associated with the exhibition of Magdalena Jetelová. The story of place, material and time will become inspiration for an art game involving all senses. Entrance is free but for each event a reservation is necessary! Information and reservations: Michaela Johnová Čapková, johncapkova@olmuart.cz, tel.: 585 514 174

From where to where?Animation programme accompanying the exhibition What is space? Who are we and where is our place in it? Can space transform us? And can we transform space? Can we illuminate it? And can we achieve enlightenment? Which is the way in and which out? And what is this city? What to do in order not to get lost in it? How not to lose oneself and not lend a hand to evil? These are all complicated questions. Answers to them will be sought by students together with lecturer David Hrbek and by performing a few practical tasks and playing games in space and with space. The programme is suitable for pupils aged 11-15 and for se-condary school students. Information and reservations: David Hrbek, hrbek@olmuart.cz, tel.: 585 514 213

Commented tours

Tue / 11 June 2013 / 5 p. m. / Museum of Modern ArtTue / 24 September 2013 / 5 p. m. / Museum of Modern Art Your guide at the exhibition will be its curator Olga Staníková

Lecture on the exhibition

Tue / 1 October 2013 / 5 p. m. Museum of Modern Art / Lecture HallArchitecture and public spacedoc. PhDr. Petr Kratochvíl, CSc. M

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rtMAGDALENA JETELOVÁ(DES)ORIENTATION?Projects from 1982–2013

30 May – 27 October 2013 Olomouc Museum of ArtMuseum of Modern Art

exhibition

author of the exhibition Magdalena Jetelovácurators of the exhibition Michal Soukup, Olga Staníkováarchitectural design Magdalena Jetelová, Marek Novák, Michal Soukuptranslation Jaroslav Peprníkimplementation Jan Černý, Jan Hanák, Roman Holub, Lea Letzel, Richard Loskot, Matěj Neubert, Fabian Offert, René Rohan, Petr Sláma, Milan Tomeček, Kamil Zajíčekgraphic design Magdalena Jetelová, Beata Rakowská, Petr Šmalecphotographs the author‘s archive, Lumír Čuříkinstallation Vlastimil Sedláček, Filip Šindelář, Ondřej Žákpromotion Petr Bielesz

The exhibition was prepared in cooperation with Ministry of Culture of the Czech Republic, Municipality of Olomouc, Olomouc Region, Institute for the Study of Totalitarian Regimes, Lower Area of Vítkovice Association, Vítkovice Power Engineering, a subsidiary of Vítkovice, Ltd.

The exhibition is held under the auspices of the Deputy Prime Minister and Minister of Foreign Affairs of the Czech Republic Karel Schwarzenberg.

Underground City / silkscreen, enamel, Ostrava-Vítkovice, 2013, property of the artist

media partners

partners

Olomouc Archdiocesan Museum | Václavské nám. 3, 771 11 Olomouc

Museum of Modern Art | Denisova 47 | 771 11 Olomouc

Admission fee: Full: CZK 50 | Reduced: CZK 25 The ticket is valid on the day of purchase for both the Archdiocesan Museum and the Museum of Modern Art | Opening Hours: daily, except Mondays | 10 a.m. – 6 p.m.

Kroměříž Archdiocesan Museum | Sněmovní nám 1 | 767 01 Kroměříž

Admission fee | Opening hours: See the list of admission and opening hours of the Archiepiscopal Chateau and Gardens in Kroměříž | www.azz.cz

Information: info@olmuart.cz | tel: 585 514 111 | www.olmuart.cz

Vlastivědné muzeum

Museum of Modern

Art

Olomouc Archdiocesan

Museum

Regional Museum of Olomouc

Regional Museum in Olomouc

Holy Trinity Column

City HallAstronomical clock

The exhibition presents the work of Magdalena Jetelová (*1946), a noted Czech artist, one of contemporary visual artists who have achieved international acclaim. In the form of wooden chairs, staircases and other objects from the late 1970s and the first half of the 1980s she gave an ironic account of life under the Communist regime. Her participation at unofficial events resulted in her not being allowed to attend international exhibitions. Her artistic activity, often bordering on illegality, was reduced to the sphere of artists with a similar outlook on art. In 1983–84 she organized, in her former studio in Prague, an event with signalling smoke, thus visualizing the expansion of the “red” conglomeration. Dating from before her emigration is the by now legendary and still unfinished landart project, with the idea of an original underground space, called Underground City. After her emigration in 1985, her studio was destroyed. When she lived abroad, she never slackened off in her creative activity. As early as 1983 an invitation came to exhibit in the New Art at the Tate Gallery in London, as the only representative of the Eastern Block countries, and then gradually Magdalena Jetelová joined the international artistic scene.

Sculpture became her original stepping out, outside the galleries. She began to deal with relations between an object and space. She deconstrues the present form of architecture by a new visuality, destabilizes its face by intentional reversal or repetition of elements, and by a general shift in time she uncovers remote or excluded contexts. She was one of the first artists from the post-Communist countries to start applying new technologies and laser light and made use of coded language of GPS coordinates as well as of modern robotic systems. In the continuously improving technology of new media she has found an opportunity for a revival of communication and for mediation of uncommon emotional experience. She is flexible in her response to place, she extracts it from the common con-text and alters its structure, with the aim of perceiving different

interlayers of time and space. She never forgets social aspects either, such as human reights and care of environment.

In 1992–1995 she implemented her monumental project Domestication of Pyramids in several cultural institutions in Europe, in which she confronted their exhibition space with the strict geometry of Egyptian architecture. Among her other remarkable installations are Translocation I and II in Hannover and Darmstadt in Germany, where she worked with dynamic shifts in space and time. A direct reaction to place itself is found in her other time-cum-space structures. With light beams she marks out directions and makes division or linking visible (Island Project, 1992, Atlantic Wall, 1994–95; Crossing King’s Cross, 1996). Ground for her complex creations is found close to landart, conceptual art, and action.

Magdalena Jetelová in 1990–2004 was teacher at the Sta-te Art Academy in Düsseldorf, from 2004 to the end of 2012 professor at the Academy in Munich. After 1989 she was a consultant to President Václav Havel in the Prague Castle. She exhibited in many prestigious galleries of the world (e.g. Museu d’Art Contemporani de Barcelona, Tate Gallery of Art London, Museum of Modern Art New York, Chicago Art Center, Martin-Grophius-Bau Berlin, Zachęta Narodowa Galeria Sztuki Warszawa), took part in international exhibitions (Dokumenta 8 in Kassel, Sydney Biennale, Gwangju Biennale in South Korea, 54th Bienale in Venice). On the occasion of being awarded the Lovis Corinth Prize in 2007, a large monograph about her was published. Her work is found in leading world collections, e.g. in Paris in the Musée National d‘Art Moderne Centre G. Pompidou, in the Museum der Stadt Darmstadt, The Henry Moore Institute Leeds, The Hirshhorn Museum and Sculpture Garden in Washington D.C., The National Gallery in Prague.

In the exhibition project (DES)ORIENTATION? Projects from 1982–2013 the space structures are presented through dynamic light and visualization of hidden energy. Also on display are her latest works using a text or smoke, thus referring to the recent common history of the former post-Communist countries. In a world premiere, the artist is introducing the project of an underground garden centre, designed in contrast to the prevai-ling stream of the uniform housing estate of South Town. The uniqueness of the project is borne out by the fact of this being only the third independent exhibition of Magdalena Jetelová in her original home country. She prepared it specially for the Olomouc Museum and with the smoke event at the opening of the exhibition she is inviting you to active participation in this project by an artist from Central and Eastern Europe.

Accompanying programme

Animation programme

What art can do / Space without limitsAnimation programme for the youngest (age 2-6)Thursday / 5 September 2013 / 10:00–11:00 and 15:30–16:30Museum of Modern Art The animation programme from the cycle “What art can do“ will be a space puzzle associated with the exhibition of Magdalena Jetelová. The story of place, material and time will become inspiration for an art game involving all senses. Entrance is free but for each event a reservation is necessary! Information and reservations: Michaela Johnová Čapková, johncapkova@olmuart.cz, tel.: 585 514 174

From where to where?Animation programme accompanying the exhibition What is space? Who are we and where is our place in it? Can space transform us? And can we transform space? Can we illuminate it? And can we achieve enlightenment? Which is the way in and which out? And what is this city? What to do in order not to get lost in it? How not to lose oneself and not lend a hand to evil? These are all complicated questions. Answers to them will be sought by students together with lecturer David Hrbek and by performing a few practical tasks and playing games in space and with space. The programme is suitable for pupils aged 11-15 and for se-condary school students. Information and reservations: David Hrbek, hrbek@olmuart.cz, tel.: 585 514 213

Commented tours

Tue / 11 June 2013 / 5 p. m. / Museum of Modern ArtTue / 24 September 2013 / 5 p. m. / Museum of Modern Art Your guide at the exhibition will be its curator Olga Staníková

Lecture on the exhibition

Tue / 1 October 2013 / 5 p. m. Museum of Modern Art / Lecture HallArchitecture and public spacedoc. PhDr. Petr Kratochvíl, CSc. M

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rtMAGDALENA JETELOVÁ(DES)ORIENTATION?Projects from 1982–2013

30 May – 27 October 2013 Olomouc Museum of ArtMuseum of Modern Art

exhibition

author of the exhibition Magdalena Jetelovácurators of the exhibition Michal Soukup, Olga Staníkováarchitectural design Magdalena Jetelová, Marek Novák, Michal Soukuptranslation Jaroslav Peprníkimplementation Jan Černý, Jan Hanák, Roman Holub, Lea Letzel, Richard Loskot, Matěj Neubert, Fabian Offert, René Rohan, Petr Sláma, Milan Tomeček, Kamil Zajíčekgraphic design Magdalena Jetelová, Beata Rakowská, Petr Šmalecphotographs the author‘s archive, Lumír Čuříkinstallation Vlastimil Sedláček, Filip Šindelář, Ondřej Žákpromotion Petr Bielesz

The exhibition was prepared in cooperation with Ministry of Culture of the Czech Republic, Municipality of Olomouc, Olomouc Region, Institute for the Study of Totalitarian Regimes, Lower Area of Vítkovice Association, Vítkovice Power Engineering, a subsidiary of Vítkovice, Ltd.

The exhibition is held under the auspices of the Deputy Prime Minister and Minister of Foreign Affairs of the Czech Republic Karel Schwarzenberg.

Underground City / silkscreen, enamel, Ostrava-Vítkovice, 2013, property of the artist

media partners

partners

Olomouc Archdiocesan Museum | Václavské nám. 3, 771 11 Olomouc

Museum of Modern Art | Denisova 47 | 771 11 Olomouc

Admission fee: Full: CZK 50 | Reduced: CZK 25 The ticket is valid on the day of purchase for both the Archdiocesan Museum and the Museum of Modern Art | Opening Hours: daily, except Mondays | 10 a.m. – 6 p.m.

Kroměříž Archdiocesan Museum | Sněmovní nám 1 | 767 01 Kroměříž

Admission fee | Opening hours: See the list of admission and opening hours of the Archiepiscopal Chateau and Gardens in Kroměříž | www.azz.cz

Information: info@olmuart.cz | tel: 585 514 111 | www.olmuart.cz

Vlastivědné muzeum

Museum of Modern

Art

Olomouc Archdiocesan

Museum

Regional Museum of Olomouc

Regional Museum in Olomouc

Holy Trinity Column

City HallAstronomical clock

The exhibition presents the work of Magdalena Jetelová (*1946), a noted Czech artist, one of contemporary visual artists who have achieved international acclaim. In the form of wooden chairs, staircases and other objects from the late 1970s and the first half of the 1980s she gave an ironic account of life under the Communist regime. Her participation at unofficial events resulted in her not being allowed to attend international exhibitions. Her artistic activity, often bordering on illegality, was reduced to the sphere of artists with a similar outlook on art. In 1983–84 she organized, in her former studio in Prague, an event with signalling smoke, thus visualizing the expansion of the “red” conglomeration. Dating from before her emigration is the by now legendary and still unfinished landart project, with the idea of an original underground space, called Underground City. After her emigration in 1985, her studio was destroyed. When she lived abroad, she never slackened off in her creative activity. As early as 1983 an invitation came to exhibit in the New Art at the Tate Gallery in London, as the only representative of the Eastern Block countries, and then gradually Magdalena Jetelová joined the international artistic scene.

Sculpture became her original stepping out, outside the galleries. She began to deal with relations between an object and space. She deconstrues the present form of architecture by a new visuality, destabilizes its face by intentional reversal or repetition of elements, and by a general shift in time she uncovers remote or excluded contexts. She was one of the first artists from the post-Communist countries to start applying new technologies and laser light and made use of coded language of GPS coordinates as well as of modern robotic systems. In the continuously improving technology of new media she has found an opportunity for a revival of communication and for mediation of uncommon emotional experience. She is flexible in her response to place, she extracts it from the common con-text and alters its structure, with the aim of perceiving different

interlayers of time and space. She never forgets social aspects either, such as human reights and care of environment.

In 1992–1995 she implemented her monumental project Domestication of Pyramids in several cultural institutions in Europe, in which she confronted their exhibition space with the strict geometry of Egyptian architecture. Among her other remarkable installations are Translocation I and II in Hannover and Darmstadt in Germany, where she worked with dynamic shifts in space and time. A direct reaction to place itself is found in her other time-cum-space structures. With light beams she marks out directions and makes division or linking visible (Island Project, 1992, Atlantic Wall, 1994–95; Crossing King’s Cross, 1996). Ground for her complex creations is found close to landart, conceptual art, and action.

Magdalena Jetelová in 1990–2004 was teacher at the Sta-te Art Academy in Düsseldorf, from 2004 to the end of 2012 professor at the Academy in Munich. After 1989 she was a consultant to President Václav Havel in the Prague Castle. She exhibited in many prestigious galleries of the world (e.g. Museu d’Art Contemporani de Barcelona, Tate Gallery of Art London, Museum of Modern Art New York, Chicago Art Center, Martin-Grophius-Bau Berlin, Zachęta Narodowa Galeria Sztuki Warszawa), took part in international exhibitions (Dokumenta 8 in Kassel, Sydney Biennale, Gwangju Biennale in South Korea, 54th Bienale in Venice). On the occasion of being awarded the Lovis Corinth Prize in 2007, a large monograph about her was published. Her work is found in leading world collections, e.g. in Paris in the Musée National d‘Art Moderne Centre G. Pompidou, in the Museum der Stadt Darmstadt, The Henry Moore Institute Leeds, The Hirshhorn Museum and Sculpture Garden in Washington D.C., The National Gallery in Prague.

In the exhibition project (DES)ORIENTATION? Projects from 1982–2013 the space structures are presented through dynamic light and visualization of hidden energy. Also on display are her latest works using a text or smoke, thus referring to the recent common history of the former post-Communist countries. In a world premiere, the artist is introducing the project of an underground garden centre, designed in contrast to the prevai-ling stream of the uniform housing estate of South Town. The uniqueness of the project is borne out by the fact of this being only the third independent exhibition of Magdalena Jetelová in her original home country. She prepared it specially for the Olomouc Museum and with the smoke event at the opening of the exhibition she is inviting you to active participation in this project by an artist from Central and Eastern Europe.

Accompanying programme

Animation programme

What art can do / Space without limitsAnimation programme for the youngest (age 2-6)Thursday / 5 September 2013 / 10:00–11:00 and 15:30–16:30Museum of Modern Art The animation programme from the cycle “What art can do“ will be a space puzzle associated with the exhibition of Magdalena Jetelová. The story of place, material and time will become inspiration for an art game involving all senses. Entrance is free but for each event a reservation is necessary! Information and reservations: Michaela Johnová Čapková, johncapkova@olmuart.cz, tel.: 585 514 174

From where to where?Animation programme accompanying the exhibition What is space? Who are we and where is our place in it? Can space transform us? And can we transform space? Can we illuminate it? And can we achieve enlightenment? Which is the way in and which out? And what is this city? What to do in order not to get lost in it? How not to lose oneself and not lend a hand to evil? These are all complicated questions. Answers to them will be sought by students together with lecturer David Hrbek and by performing a few practical tasks and playing games in space and with space. The programme is suitable for pupils aged 11-15 and for se-condary school students. Information and reservations: David Hrbek, hrbek@olmuart.cz, tel.: 585 514 213

Commented tours

Tue / 11 June 2013 / 5 p. m. / Museum of Modern ArtTue / 24 September 2013 / 5 p. m. / Museum of Modern Art Your guide at the exhibition will be its curator Olga Staníková

Lecture on the exhibition

Tue / 1 October 2013 / 5 p. m. Museum of Modern Art / Lecture HallArchitecture and public spacedoc. PhDr. Petr Kratochvíl, CSc. M

AG

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198

2–20

13 /

Olo

mo

uc

Mu

seu

m o

f A

rtMAGDALENA JETELOVÁ(DES)ORIENTATION?Projects from 1982–2013

30 May – 27 October 2013 Olomouc Museum of ArtMuseum of Modern Art

exhibition

author of the exhibition Magdalena Jetelovácurators of the exhibition Michal Soukup, Olga Staníkováarchitectural design Magdalena Jetelová, Marek Novák, Michal Soukuptranslation Jaroslav Peprníkimplementation Jan Černý, Jan Hanák, Roman Holub, Lea Letzel, Richard Loskot, Matěj Neubert, Fabian Offert, René Rohan, Petr Sláma, Milan Tomeček, Kamil Zajíčekgraphic design Magdalena Jetelová, Beata Rakowská, Petr Šmalecphotographs the author‘s archive, Lumír Čuříkinstallation Vlastimil Sedláček, Filip Šindelář, Ondřej Žákpromotion Petr Bielesz

The exhibition was prepared in cooperation with Ministry of Culture of the Czech Republic, Municipality of Olomouc, Olomouc Region, Institute for the Study of Totalitarian Regimes, Lower Area of Vítkovice Association, Vítkovice Power Engineering, a subsidiary of Vítkovice, Ltd.

The exhibition is held under the auspices of the Deputy Prime Minister and Minister of Foreign Affairs of the Czech Republic Karel Schwarzenberg.

Underground City / silkscreen, enamel, Ostrava-Vítkovice, 2013, property of the artist

media partners

partners

Olomouc Archdiocesan Museum | Václavské nám. 3, 771 11 Olomouc

Museum of Modern Art | Denisova 47 | 771 11 Olomouc

Admission fee: Full: CZK 50 | Reduced: CZK 25 The ticket is valid on the day of purchase for both the Archdiocesan Museum and the Museum of Modern Art | Opening Hours: daily, except Mondays | 10 a.m. – 6 p.m.

Kroměříž Archdiocesan Museum | Sněmovní nám 1 | 767 01 Kroměříž

Admission fee | Opening hours: See the list of admission and opening hours of the Archiepiscopal Chateau and Gardens in Kroměříž | www.azz.cz

Information: info@olmuart.cz | tel: 585 514 111 | www.olmuart.cz