Sketch the Change! 2019

You can watch our review of the international conference on sustainability Sketch the Change & launch of the printed issue of Material Times Magazine. Conference is focusing on sustainability in terms of materials and their processing across disciplines. We are preparing the next one for 2020.

 

How can you be a part of the conference? Become a partner of the Sketch the Change 2020! conference. Help us realize this inspirative and important meeting in 2020.

Milan Krajíček – Fluidum

From 15th November 2019 to 15th January 2020 you can visit our Galerie Kuzebauch and experience the exhibition of Milan Krajíček called Fluidum.

Slowly, 2019

Milan Krajíček is one of the students of Professor Kopecký at the Academy of Arts, Architecture and Design in Prague. He then worked as a designer and teacher at the Akademie Světlá nad Sázavou school of arts. After some time he brought forth a notable and original artistic conception – an innovative custom-developed technology of cast glass sculpting.

Negative IV, 2018

With each work, Krajíček continues his journey exploring the possibilities of glass, making works that are on border of both a liquid and solid state. Krajíček is unafraid of deconstructing shapes, or of playing with material concepts and their surroundings, or of merging internal and external spaces. The path chosen by Milan Krajíček is deserving of both respect and recognition.

Unrest III, 2019

Vladimíra Klumpar – Vibration

From 18th September to 8th November 2019 you can visit our Galerie Kuzebauch and experience the exhibition of Vladimíra Klumpar called Vibration.

Revealed, 2014

After completing her studies at the Secondary Professional School of Applied Glass Art (SUPŠS) in the northern Bohemian town of Železný Brod, Vladimíra Klumpar went on to study at the Professor Stanislav Libenský Glass Studio at the Academy of Arts, Architecture and Design in Prague (VŠUP), from which she graduated in 1981. Along with Jaroslava Brychtová, Stanislav Libenský served to symbolise an insurgent contemporary boom in Czech cast glass sculpting – a technology that stretches back to ancient times – but one only finely honed during the mid-20th century in Czechoslovakia.

Smoke, 2018

Vladimíra Klumpar, lived and worked in the US (1985-1998), Mexico (from 1989), and also in the Czech Republic (from 2000). Klumpar’s glass art works, often presented via striking, dominant colours, can be characterised as both dynamic and vibrant.

Leaf, 2019

They possess a kind of internal vibration, restlessness, quivering, thus reflecting a mode of communication inherent to both the planet on which they reside, and the entities who brought about their existence. And such powerful art explains why Vladimír Klumpar is one of the most dynamic contemporary creative forces of her generation – for she does not treat glass as just another material, but rather as a unique natural manifestation; a kind of fifth element.

Petr Kavan – A Brief Visit

From 19th July to 6th September you can see a new exhibition of Petr Kavan in Galerie Kuzebauch called A Brief Visit.

Runner, 2004

Petr Kavan (born 1949) was initially oriented towards carving having acquired considerable skills from fellow Czech sculptor Pavel Kostrhun. In 1996, Kavan departed for India, discovering the magic of black granite. This material would completely transform the Czech artist’s approach to his work. His wooden, black granite and copper statues offer a space for a clash between Western thought and Eastern mysticism.

The artist’s black granite statues represent a notable forward-step in terms of his expressive aesthetic. The works’ more abstract and clear lines serve to draw the viewer into a world in perpetual motion

Sisyphus,2000

The central motif of Kavan’s works can be characterised as an encounter with one’s own corporeal nature, and an awareness of one’s own mortality. Works such as Sisyphus, bring viewers into direct contact with the inevitability of human fate. Kavan’s statues offer a similar opportunity to come face-to-face with the futility of one’s own existence. They underscore the fact that life is but a brief visit; borrowed time that one day we will have to return. Kavan incorporates a kind of existential essence to his works, serving as a confrontation with one’s own mortality, and offering a degree of relief to the viewer, stemming from the wider wisdom contained therein.

THE FOURTH ISSUE OF MATERIAL TIMES IS NOW AVAILABLE!

This year’s issue of Material Times comes with the motto “Let’s focus on the inconspicuous connections!”. On its 130 pages, the readers may be looking forward to photographs and illustrations which aim to show the insignificant connections that appear all around us everyday.

Kristina Veinbender examines the efforts of establishing reuse centers in the Czech Republic. Lucie Tomanová is discussing the topic of waste in an interview with Vladimír Kočí. Tereza Špinková focuses on the phenomenon of dead stocks. František Marčík is dealing with the global climate change topic in his text and he lists the necessary steps to prevent the catastrophic consequences.

“In the moments when we are getting rid of myopia and careless attitude, a vast playground is opening for us. We notice that these connections generate space, where we can exist with others.” says the editor in chief Tereza Lišková.

Photo: Filip Šach, styling: Hana Šradějová

Jan Frydrych – Optikalita

From 31st May to 12th July 2019 you can visit Galerie Kuzebauch and see the exhibition of Jan Frydrych called Optikalita.

Jan Frydrych gained a basic vocational education in glassmaking at the Glass School Nový Bor and then he studied grammar school in Liberec and Pedagogical Faculty in Ústí nad Labem. After that he worked as a teacher at numerous schools in Europe. He became famous because he mastered the skill of cutting optical glass and since the 1980s he is regularly exhibiting his work all around the world. His works are part of private collections of celebrities like Bill and Hillary Clinton, Elton John and Shirley Temple.

In Frydrych sophisticated cut and laminated glass, a minimalistic combination of transparent, indigo blue – and occasionally red – glass plays a crucial role. The precision of workmanship is breathtaking and it shows Frydrych’s manual adroitness that makes his works a true art.

Galerie kuzebauch at revélations 2019

Galerie Kuzebauch will make its third appearance at Révelations fair in Paris with its exhibition Sculpting in Glass. The exhibition will be located in Grand Palais, stand F1.

The idea behind the curator’s pick is to draw attention to the current trends in glassmaking towards experimentation and challenging boundaries. Their approach to glass primarily involves sculpting their material of choice.

Martin Janecký comes from a family of glassmakers and was literally raised with glass. He became famous when he mastered a technique called „inside sculpting“ – the shaping of a steaming hot glass bulb from inside.

Martin Janecký, Head

Anna Polanská graduated at UMPRUM in Prague and currently heads the departement of cut glass at the famous glassmaking school in Železný Brod. In her set of glass vases, she evokes the structure of honeycombs and points out the contrast between nature and her work.

Anna Polanská, Brown

Josef Divín teaches glass design in Valašské Meziříčí and at Prague’s UMPRUM. His lightweight objects also resemble nature. It is obvious from the maps created from melted silver foil attached to the surface of the vases or by the cut necks of the vases.

Josef Divín, Vessels

The fourth artist presented by Kuzebauch Gallery is Ondřej Strnadel who studied industrial design at the Tomáš Baťa University in Zlín and now teaches at the glassmaking school in Valašské meziříčí. His hand-blown objects are purely abstract. He uses asymmetrical interventions to create the illusion of motion and fluidity.

Ondřej Strnadel, Soap

Ondřej Strnadel – SOAP

From 22nd March to 17th May 2019 you can visit our Galerie Kuzebauch and experience the exhibition of Ondřej Strnadel – SOAP.

Moravian Wallachia (Valašsko) is one of the Czech Republic’s richest regions in terms of glass production traditions. Today, such traditions are primarily preserved and cultivated by the High School of Applied Arts and Glassmaking Valašské Meziříčí and the Glass Design Studio at The University of Tomáš Baťa in Zlín. It is no coincidence that these institutions are also closely associated with Czech glass artist Ondřej Strnadel (born 1979), who teaches glassmaking in both Valašské Meziříčí and Zlín and is continually drawing inspiration from his native region. Yet such local inspiration is also purposefully attuned to a wider audience, as attested to by successful presentations of Strnadel’s works in countries such as France, Germany, Poland, Bulgaria, Slovakia, Holland and Italy. In 2018, the Czech glass artist was the recipient of the Bavarian State Prize.

Understanding Strnadel’s work requires an appreciation of the wider history of modern Czech art glass. Since its emergence during the mid-20th century, Czech art glass has built a strong reputation for its artistic ingenuity and originality on the one hand, and exquisite craftsmanship on the other. But in most cases, this represents a merging of two divergent worlds – one represented by the artist, and the other by the glassmaker; one ostensibly for the artistic creator, and the other for the hands-on craftsman. But Strnadel belongs to a privileged minority able to operate in an entirely self-reliant capacity across both of these fields. Which may also help to explain why his works lack any kind of pretence or affectations. Rather, despite considerable creativity, they remain modest, forthright, honest, and accessible to a wider audience.

The SOAP collection features works by Strnadel created with the aid of glass, hand-blown into a wooden mould. The works feature oblong forms and distinct colours, with surfaces broken up by cleverly distributed minor irregularities. In this sense, Strnadel continues to further cultivate a distinctive personal aesthetic of plain geometric objects given a sense of uniqueness via the addition of atypical details. Such details help to imbue Strnadel’s glass art with a sense of internal dynamism, tension and refined craftsmanship.

GALERIE KUZEBAUCH AT COLLECT 2019

Exhibition Glass Rituals will showcase four distinctive Czech glass artists. The selection aims to show the diversity with which glassmakers approach their creation. The curatorial selection provides a comprehensive picture of contemporary Czech studio-glass created by what is often labelled as the “fairer sex” through intergenerational dialogue of the artists. Klára Horáčková experiments with glass and transforms it into delicate forms. She uses her art to put forward a vision of evolution – biomorphic and almost otherworldly objects from fused glass, resembling rock formations. Eva Eisler workis a manifestation of an intersection of the past and futurewith glass silhouettes referring to archetypal image of goddesses. The imagery stems from ancient rituals and fertility symbols. Lada Semecká tells a story through unique properties and origin of given material. Her glass paintings evoke fluidity and imagination while basalt stone objects emphasize its unique surface, resilience and resonance. Vladimíra Klumpar focuses oncast glass sculptures that are either inspired by geometric or biomorphic shapes. In her work light and the depth of space play crucial role.

Klára Horáčková, White Shoots

Eva Eisler, From the Past – Amber

Lada Semecká, Universe

 Vladimíra Klumpar, Orange Wave

Emma Woffenden and Petr Stanický: Contact – Isolation

From 11st January to 15th March 2019 you can visit our Galerie Kuzebauch and experience the exhibition of Emma Woffenden and Petr Stanický.

Emma Woffenden is a graduate of the famous London-based Royal College of Art (RCA). Since starting out in the early 1990s, she has devoted herself to the art of sculpting.  Woffenden makes creative use of glass and other materials, and has a particular inclination towards figures and organic shapes. Her works are evocative, capture a sense of motion, and even exude a sense of irony and provocation. Spiritual subject matters are a regular inspiration; as is a specific fascination with man as a multilayered being, both noble and comical; add to that a great affinity for working with contrasting materials and ideas.

Petr Stanický, head of the Glass Design studio at Tomáš Baťa University in Zlín, also sees himself as a sculptor first, and a glass artist second. For Stanický, glass represents one of the best materials for the creation of art objects and compositions – ones that often seek to either take over a particular space, or unveil a new dimension therein. His works are brimming with ideas; they are almost puritanically clean; and they are meticulously thought-out and constructed. And yet Stanický – similarly to Emma Woffenden – is also able to create intimate individual pieces, expressing an interest in, among other things, figural motifs.

The Contact – Isolation exhibition offers visitors a window into the creative minds of two notable, distinctive, and primarily intellectually kindred artistic spirits. Emma Woffenden and Petr Stanický have created specific new works for Galerie Kuzebauch, which seek to affirm that notions of glass and space are both stimulating, thought-provoking and even surprising.