Jan Koblasa

Though his work includes paintings, graphics, drawing and stage design, Jan Koblasa regards himself above all as a sculptor. Since his studies in the 1950s, Koblasa has participated actively in public artistic life. The events he was involved in at that time had to be unofficial since they were in opposition to the predominant communist ideology. This includes his share in the organisation of the Malmuzherciáda (1954 Prague and the exhibition on Střelecký Island in Prague in 1957). This Dada performance became the core of the Šmidra Group (the group acquired its name in 1957). Other artists who became members included Bedřich Dlouhý, Karel Nepraš and Jaroslav Vožniak. The group’s performances were a student prank, a Dada gesture and a manifestation of resistance, not only to the official situation at that time, but to all conventions. From the start the happening-based soirées and meetings of the Šmidra Group were characterised by absurdity, weirdness, the grotesque, parodies, black humour and sarcasm rather than pure creativity. At that time Koblasa was drawn to abstract expressionism, as well as existentialist philosophy and musique concrète. In 1960, he played an important role in organising two famous unofficial exhibitions, Confrontations I. (in the Jiří Valenta studio) and Confrontations II. (in the Aleš Veselý studio). Both exhibitions became manifestations of non-figurative artworks.

The work of these artists was on the edge of picture and object. Participants in the Confrontations fundamentally rejected the compromises made by their predecessors, rejected the restraint of modernism of the inter-war generations, and turned instead to the tradition of West European art of the previous fifteen years, above all informel. Koblasa creates dark, abstract paintings with the texture typical of informel, evoking the embryonic traces of primeval sludge. Since the end of the 1950s he has continued to produce sculptures. At first sight these are abstract works made of plaster, wood or bronze, with a characteristic textural finish. However, their titles indicate that they are actually abstracted figures: the Martyrdom of St. Sebastian, Dead King, Magdalena, Weeping Youth, Head, Red Angel, False Prophet, etc. With their emphasis on archetypal and mythological elements the sculptures have a symbolic character. Koblasa finds an analogy with current life experience in their metaphorical message. He often returned to mythical themes in his later work also (Prophet, Messenger, Angel, Guardian, Golem).

In 1968 Jan Koblasa emigrated. The occupation of Czechoslovakia in August 1968 found him in Italy, whence he never returned. He obtained asylum in Northern Germany. In 1969 he established the department of free sculpture at the Muthesius Fachhochschule in Kiel, which he headed as professor until 1998. The works which he created after 1968 are difficult to place in any particular stylistic drawer. Shortly after emigrating Koblasa created an amorphously shaped cycle of heads (Lamento, Lick Tongue), in which he returned to clay modelling, which he then cast in bronze. Several heads are made of polychromatic artificial substances. These expressive heads can be perceived as a response to the torment he felt upon being obliged to leave his native land.

Later in emigration Koblasa moved towards a stripped down simplicity of plastic form. The sculptures of this time are marked by restraint and simplicity of form. The dramatic expressiveness of the existential angst expressed by the destruction of material disappears. In certain works the geometrisation of shape moves toward a highly reduced and free sculptural form. In his work in exile Koblasa continues to examine timeless subjects with a symbolic significance.

Thematically Koblasa’s work operates in several circles. One of these is the myth of Earth, visible in early informel works, e.g. in the cycle Finis Terrae. Later we find the theme appearing in the cycle made of diabase entitled Mountains. A simple form based on the contrast between the highly polished surface of natural looking parts loses its former expressiveness. It is an example of the artist’s more contemplative work extending into cosmological spheres.

From the end of the 1950s onwards Koblasa was interested in the theme of victim (The Martyrdom of St Sebastian, Obětina, Veronica’s Veil). However, he does not regard the symbol of the victim simply within a narrow historical context, but as a message with universal validity, as a metaphor for being thrown into (not always propitious) life. In 1989, he created a series of sculptures on this theme entitled Abraham and Isaac. The sculpture Dead Mother dates back to 1991 and 92, and Portrait of an Unknown Soldier I and II to 1993.

Another circle of Koblasa’s output comprises work exploring themes of cult idolatry. This would include early works such as the series of Kings or Magdalena. Sculptures of this type place a strong emphasis on verticality and full frontality, as in the ancient cultures of Greece and Egypt. The sculptures from later years, such as Niké (1984), Day and Night Watch (1989) and Seven Days (1989), also possess an archaic, majestic and grandiose atmosphere.

If we look at Koblosa’s work as a whole, it becomes clear that it is full of symbols and signs and that a return to myth and archetype plays a large role. The artist seeks solace in origins in response to today’s chaotic world. Jana Koblasa’s work can be characterised as a territory in which the message of ancient history (even prehistory) encounters the current state of life and the feelings of contemporary man.

Symposiums:

2003

Mezinárodní sochařské sympozium, Klášter Hradiště nad Jizerou (Mladá Boleslav)

2001

Mezinárodní sochařské sympozium, Klášter Hradiště nad Jizerou (Mladá Boleslav)

1999

Mezinárodní sochařské sympozium, Klášter Hradiště nad Jizerou (Mladá Boleslav)

1990

Mezinárodní sochařské symposium, Hořice v Podkrkonoší

1989

1. Internationales Bildhauersymposion Neumünster, Německo

International Symposium for Peace, Eilat (Izrael)

1988

Workshop, Sharon (USA)

1983

Steinbilhauersymposium, Lübeck

1982

Steinsymposium, Schloss Gottorf, Schleswig

1974

Internationales Kunsstoffsymposium, Lindau, Bodensee

1967

Mezinárodní sochařské sympozium (ve dřevě), Pieš´tany

1966

Mezinárodní sympozium o urbanistice a volném čase, Liberec

Jan Koblasa. Texty: Josef Hlaváček a Mahulena Nešlehová. Nakladatelství Karolinum, Praha 2002.