Studies:<\/p>\r\n
1958-1964 Academy of Fine Arts in Prague (Vladim\u00edr Sychra, Arno\u0161t Paderl\u00edk)<\/p>\r\n
1954-1958 High School of Applied Arts in Prague<\/p>\r\n\r\n
Stipends:<\/p>\r\n
1968 UNESCO stipend, France<\/p>\r\n\r\n
Employment:<\/p>\r\n
since 2005 professor at the Pilsen University, Western Bohemia, Institute of art and design, Pilsen<\/p>\r\n\r\n
Symposiums:<\/p>\r\n
2001 International open-air symposium of art schools, \"Contacts\", Granary, Klenov\u00e1 Gallery, Klatovy, Czech Republic<\/p>\r\n
1999 Pratty University (sculpture park), Brooklyn, New York, USA<\/p>\r\n
1998 Symposium of Iron Sculpture, Trinec Ironworks, Trinec, Czech Republic<\/p>\r\n
1998 International symposium \"Mapping of Space\", Granary, Klenov\u00e1 Gallery, Klatovy, Czech Republic<\/p>\r\n
1997 International symposium \"Socrates Sculpture Park\", New York, USA<\/p>\r\n
1997 International open-air symposium of art schools, \"Contacts\", Granary, Klenov\u00e1 Gallery, Klatovy, Czech Republic<\/p>\r\n
1995 Iron Sculpture (international symposium), Plzen, Czech Republic<\/p>\r\n
1993 Art in Politics (international sculpture symposium), Agios Nikolaos, Crete, Greece<\/p>","groups":[121099,121100],"membership":"","exhibitions_solo":"2008\r\nMluv ke mn\u011b (interaktivn\u00ed v\u00fdstava kinetick\u00fdch objekt\u016f), Museum Kampa, Kon\u00edrna, Praha\r\nMuzeum Jana Amose Komensk\u00e9ho\r\n\r\n2005\r\nInterspaces; Montanelli Gallery, Prague, Czech Republic\r\n\r\n2004\r\nHidden images; Museum of Conterporary Art Denver, USA\r\n\r\n2001\r\nFictitious Projects; Gallery of V\u00e1clav Sp\u00e1la, Prague, Czech Republic\r\n\r\n2000\r\nNew Projects; Czech Center (A. Matasova & M. Titlova), New York, USA\r\n\r\n1998\r\nThe Rain Wall; project at the Klenov\u00e1 castle, Czech Republic (part of the event Work of Art in the Public Space, organized by the Foundation of Contemporary Art, Prague, Czech Republic)\r\n\r\n1997\r\nStop in Time, 1963\u20131997; National Gallery, Kinsky Palace, Prague, Czech Republic\r\n\r\n1995\r\nTombs; Via Art Gallery, Prague, Czech Republic\r\n\r\n1994\r\nCommunication II; (open air installation), Klenov\u00e1 castle, Klatovy Gallery, Czech Republic\r\n\r\n1993\r\nCommunication I; Old Town Hall Brno, Municipal Gallery, Brno, Czech Republic\r\n\r\n1992\r\nShift in the space; Exhibition Hall of E. Filly, Usti nad Labem, Czech Republic\r\n\r\n1991\r\nInstalation Situation II; New Hall, Brno, Czech Republic\r\n\r\n1990\r\nSculptures and reliefs, Art Be, Galerie Biehler, M\u00fcnchen, Germany\r\n\r\n1989\r\nInstalation Situation I; UKDZ, Prague, Czech Republic\r\n\r\n1988\r\nObjects, drawings, graphics; Ostrov nad Ohr\u00ed, Czech Republic\r\nReliefs, sculptures, drawings, graphics; castle Sokolov, Czech Republic\r\n\r\n1986\r\nReliefs; Institute of macromolecular chemistry of the Czechoslovak Academy of Sciences, Prague, Czech Republic\r\n\r\n1983\r\nExhibition of graphics from the private collection Mladinska galerija; Ljublana, Slovenia\r\n\r\n1978\r\nGraphic; Gottwaldov, Czech Republic\r\n\r\n1972\r\nSculptures, graphics, drawings; Fronta Gallery, Prague, Czech Republic\r\n\r\n1971\r\nSculptures, graphics, drawings; Art Gallery, Ostrov nad Ohr\u00ed, Czech Republic\r\n\r\n1969\r\nDrawings and graphics","exhibitions_group":"2014\r\nZ\u00f3na v pohybu: Dialogy profesorky Ad\u00e9ly Matasov\u00e9 a jej\u00edch student\u016f 1990-2014, DOX, Centrum sou\u010dasn\u00e9ho um\u011bn\u00ed \/ Centre for Contemporary Art, Praha 7\r\n\r\n2011-2012\r\nRecyklace, Galerie NoD, Praha\r\n\r\n2011\r\nTerra (non)firma \/ (Ne)pevn\u00e1 p\u016fda, Galerie Kartografie, Praha\r\nSouzn\u011bn\u00ed \/ Consonance 2011, S\u00fdpka Klenov\u00e1, Klenov\u00e1\r\n\r\n2009\r\nV\u011b\u010dn\u00e1 pom\u00edjivost, Kostel Zv\u011bstov\u00e1n\u00ed Panny Marie, Litom\u011b\u0159ice\r\nDoxnano!, DOX, Centrum sou\u010dasn\u00e9ho um\u011bn\u00ed \/ Centre for Contemporary Art, Praha 7\r\n\r\n2008\r\nCorpus delicti. Grafick\u00e9 listy nejen ze sb\u00edrky Galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed v Havl\u00ed\u010dkov\u011b Brod\u011b, Galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed v Havl\u00ed\u010dkov\u011b Brod\u011b, Havl\u00ed\u010dk\u016fv Brod\r\nSoust\u0159ed\u011bn\u00fd pohled \/ Focused View. Grafika 60. let ze sb\u00edrek \u010dlensk\u00fdch galeri\u00ed Rady galeri\u00ed \u010cesk\u00e9 republiky, Oblastn\u00ed galerie Vyso\u010diny v Jihlav\u011b, Jihlava\r\n\r\n2007-2008\r\n\u010clensk\u00e1 v\u00fdstava Um\u011bleck\u00e9 besedy, Galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed v Most\u011b, Most\r\n\r\n2007\r\n\u010clensk\u00e1 v\u00fdstava Um\u011bleck\u00e9 besedy, Novom\u011bstsk\u00e1 radnice, Praha\r\n\u010clensk\u00e1 v\u00fdstava Um\u011bleck\u00e9 besedy, Muzeum a galerie Orlick\u00fdch hor, Rychnov nad Kn\u011b\u017enou\r\n\r\n2006\r\n\u0160edes\u00e1t\u00e1 \/ The sixties ze sb\u00edrky Galerie Zlat\u00e1 husa v Praze, Galerie um\u011bn\u00ed Karlovy Vary, Karlovy Vary\r\n\r\n2005\r\nVigil of the heart; Museum of Czech Literature, Prague, Czech Republic\r\nArt Prague 2005; M\u00e1nes, Prague, Czech Republic\r\nExhibition of art meeting; M\u00e1nes, Prague, Czech Republic\r\nPra\u017esk\u00e9 ateli\u00e9ry, Novom\u011bstsk\u00e1 radnice, Praha\r\n\r\n2004\r\nSee Light; Museum of Applied Art, Brno, Czech Republic\r\n\r\n2003\r\nIV. New Zl\u00edn Salon; State Gallery Zl\u00edn, Czech Republic\r\nConceptual Connections \u2013 central European art; Forum + Gallery, Chicago, USA\r\nColor of Space; Forum + Gallery, Chicago, USA\r\n\r\n2002\r\nIII. New Zl\u00edn Salon; State Gallery Zl\u00edn, Czech Republic\r\n\r\n2000\r\nContemporary Past; Ales South Bohemia Gallery, Hlubok\u00e1 nad Vltavou, Czech Republic\r\nVia 2000; Via Art Gallery, (project in the Church of Saint Vojtech), Prague, Czech Republic\r\nOn the free theme, but to the point; Gallery of V\u00e1clav Sp\u00e1la, Prague, Czech Republic\r\nTrans Globe; M\u00e1nes Gallery, Prague, Czech Republic\r\n\r\n1999\r\nIron Sculpture; Collection of Modern and Contemporary Art of the National Gallery, Prague, Czech Republic\r\nII. New Zl\u00edn Salon; State Gallery Zl\u00edn, Czech Republic\r\n\r\n1997\r\nWork of Art in the Public Space; Collection of Modern and Contemporary Art of the National Gallery, Prague, Czech Republic\r\nCollage; National Gallery, Kinsk\u00fd palace, Prague, Czech Republic\r\n\r\n1996\r\nI. New Zl\u00edn Salon; State Gallery Zl\u00edn, Czech Republic\r\n\r\n1993\r\nGray Brick; Z\u00e1horska Gallery in Senica and Kosice, Slovak Republic\r\nStopped Time; Liben Synagogue, Prague, Czech Republic\r\n\r\n1992\r\n20 years of art exhibitions in Makro 1972\u20131992, Prague, Czech Republic\r\nRealistic theatre, Prague, Czech Republic\r\nGray Brick; Klatovy, Czech Republic\r\n\r\n1991\r\nAlternatives of tapiserie; Brno, Czech Republic, Bratislava, Slovak Republic\r\n\r\n1990\r\nHonour of J. Chalupeck\u00e9mu; City Library, Prague, Czech Republic\r\nIncrements of National gallery; City Library, Prague, Czech Republic\r\nIncrements of National gallery, drawings; Kinsk\u00fd Palace, Prague, Czech Republic\r\nPapirial 90; Chodov Citadel, Prague, Czech Republic\r\nGraphics and drawings 90; Culture Palace, Prague, Czech Republic\r\nPaper Art; Prague \u2013 Krc, Czech Republic\r\nHollar graphics; Sp\u00e1la Gallery, Prague, Czech Republic\r\nPapirial 90; Liptovsk\u00fd Mikul\u00e1s, Slovak Republic\r\n\r\n1989\r\nCurrent Czech graphics; M\u00e1nes, Prague, Czech Republic\r\nConcord 89; Doln\u00ed Pocernice, Prague, Czech Republic\r\n\r\n1988\r\nRockfest, Prague, Czech Republic\r\nForum 1988; Prague's market, Prague, Czech Republic\r\n\r\n1985\r\nCzech paper art; Institute of Applied Design, Prague, Czech Republic\r\n\r\n1983\r\nMeeting; Stromovka, Prague, Czech Republic\r\n\r\n1982\r\nExhibition of fifteen designers; City Cultural Center, Dobris, Czech Republic\r\n\r\n1981\r\nExhibition of nine designers; Gallery in the Tower, Melnik, Czech Republic\r\n\r\n1980\r\nCzech drawings; Art House, Brno, Czech Republic\r\n\r\n1971\r\nGraphics exhibition; SCUG Hollar, Chrudim, Czech Republic\r\n\r\n1970\r\nExhibition of young; M\u00e1nes, Prague, Czech Republic\r\nGuests of Hollar; Hollar, Prague, Czech Republic\r\n\r\n1969\r\nSmaller game, Circle of imaginary creation; Kutn\u00e1 Hora Museum, Czech Republic\r\n\r\n1968\r\nResearch of graphics; Regional Gallery Vysocina, Jihlava, Czech Republic\r\n\r\n1967\r\nCurrent Czech drawings and graphics; Regional Museum, P\u00edsek, Czech Republic\r\nNew names; Spala Gallery, Gallery D, Prague, Czech Republic\r\nExhibition of young; ULUV, Prague, Czech Republic\r\n\r\n1966\r\nSpring exhibition; M\u00e1nes, Praha, Czech Republic; Gallery of young, Bratislava, Slovak Republic\r\n\r\n1965\r\nExhibition of young; ULUV, Prague, Czech Republic\r\n\r\n\r\nInternational Exhibitions:\r\n\r\n2005\r\nArt Frankfurt 2005; Messe Frankfurt, Germany\r\nTechno-sublime; University gallery, Boulder, Colorado, USA\r\n\r\n2002\r\nPolitik-um, Prague Castle, Czech Republic\r\n\r\n2001\r\nMorelia University (A. Matasova & M. Titlova), Mexico City, Mexico\r\n\r\n1999\r\nNorth South Transcultural Visions, Museum I. M. Xaverego Dunikowskiego w Krolikarni, National Museum Warsaw, Poland\r\nCollage, Museum Rome, Italy\r\n\r\n1994\r\nChanging places (part of Festival of Czech Culture), The World Trade Center, New York, USA\r\n\r\n1992\r\nHolland \u2013 Driebergen, Holland\r\n\r\n1991\r\nCzech Works on Paper; Wales, England\r\n\r\n1989\r\nInternational Art Exposition; Chicago, USA\r\nReview and Preview; Baruch Gallery, Chicago, USA\r\n\r\n1988\r\nInternational Art Exposition; Chicago, USA\r\n\r\n1987\r\nArt in the Architecture; M\u00fcnchen, Germany\r\nInternational Fair Art; Basel, Switzerland\r\nInternational Art Exposition; Chicago, USA\r\nInterart; Poznan, Poland\r\n\r\n1986\r\nGraphics Biennale; Krakov a Katovice, Poland\r\nInterart; Poznan, Poland\r\nInternational Fair Art; Basel, Switzerland\r\n\r\n1985\r\nXVI. Biennial of Graphic Art Ljubljana; Slovenia\r\n\r\n1984\r\nGraphics Biennale; Krakov and Katovice, Poland\r\n\r\n1983\r\nGraphics Biennale; Cabo Frio, Brazil\r\n\r\n1982\r\nGraphics Biennale; Ibiza, Palma de Mallorca, Madrid, Barcelna, Spain\r\n\r\n1981\r\nSelling exhibition of Artcentrum; Paris, Rochechouart, France\r\n17th Independants Exhibition of Prints; Kanagawa, Japan\r\nXIV. Biennial of Graphic Art Ljubljana; Slovenia\r\n\r\n1980\r\nIV. Biennale Europe\u00e9ne de la Gravure; Mulhouse, France\r\n6th Independants Exhibition of Prints; Kanagawa, Japan\r\nII. International Print Biennale; Listowel, Ireland\r\nPremio Internazionale per l'Incisione; Biella, Italy\r\n\r\n1979\r\nXVIII. Premio Juan Mir\u00f3; Barcelona and Bukure\u0161\u0165\r\n\r\n1978\r\nSelling exhibition of Artcentrum, fair; Vienna, Austria\r\n\r\n1970\r\n50 e uno Grafici Cecoslovacchi; Massafra, Italy\r\n44 Czech. graphic artists; Oxford, England\r\nFestial dell'Arte Cecoslovacca; Corregio, Italy\r\n\r\n1969\r\nJonge praagse Kun stenaars; Appeldord, Holland\r\n\r\n1968\r\nSalon d'Art Sacr\u00e9; Paris, France\r\n\r\n1967\r\nKunstforum G\u00f6hrde; Germany\r\nCzechoslovakia Art; Mechico\r\nV. Internazionale Ausstellung der Graphik; Vienna, Austria","realizations_other":"
1989
Reli\u00e9fn\u00ed st\u011bna Zastaven\u00fd pohyb, keramika, 1989, vstupn\u00ed hala Fakultn\u00ed nemocnice, Praha Motol<\/p>\r\n
1988
Reli\u00e9fn\u00ed st\u011bna, keramika, 1988, Fakultn\u00ed nemocnice, Praha Motol<\/p>\r\n
1987
Dekorativn\u00ed st\u011bna Pohyb\/Zem\u011b, Voda, Vzduch, s\u00e1dra, 1987, vstupn\u00ed hala Hotelu Poprad, \u00dast\u00ed nad Orlic\u00ed<\/p>\r\n
1984
Dekorativn\u00ed st\u011bna Strom, keramika, 1984, tr\u017enice, Kladno<\/p>\r\n
1982
Reli\u00e9fn\u00ed st\u011bna Z\u0159\u00eddlo, s\u00e1dra, 1982, J\u00e1nsk\u00e9 L\u00e1zn\u011b<\/p>\r\n
1981
Plastika \u017divo\u010di\u0161n\u00ed \u0159\u00ed\u0161e, v\u00e1penec, 1981, obchodn\u00ed centrum, Kladno<\/p>\r\n
1979
Reli\u00e9fn\u00ed st\u011bna, Kub\u00e1nsk\u00e9 kulturn\u00ed st\u0159edisko, s\u00e1dra, 1979, N\u00e1rodn\u00ed t\u0159\u00edda, Praha<\/p>\r\n
1977
Plastika Sep\u011bt\u00ed, p\u00edskovec, 1977, p\u0159ed Kultirn\u00edm domem, Beroun<\/p>\r\n
1976
Font\u00e1na Trojice, v\u00e1penec, 1976, atrium are\u00e1lu Eden, Beroun<\/p>\r\n
1975
Slune\u010dn\u00ed hodiny, v\u00e1penec, 1975, Kladno<\/p>\r\n
1973
Font\u00e1na, kov, 1973, Neratovice
Plastika Dotek, plast, k\u00e1men, 1973, s\u00eddli\u0161t\u011b Hornom\u011bcholupsk\u00e1, Praha
1968
Dekorativn\u00ed st\u011bna, mramor, 1967\u20131968, obchodn\u00ed centrum, Beroun<\/p>\r\n
1967
Znaky v prostoru, beton, 1966 \u2013 1967, vstup do are\u00e1lu Spolana Neratovice<\/p>","collections":"
N\u00e1rodn\u00ed galerie v Praze<\/p>\r\n
Galerii hlavn\u00edho m\u011bsta Prahy,<\/p>\r\n
Oblastn\u00ed galerii Vyso\u010dina v Jihlav\u011b,<\/p>\r\n
Galerii um\u011bn\u00ed v Karlov\u00fdch Varech,<\/p>\r\n
Ostrov\u011b nad Oh\u0159\u00ed, v M\u011bstsk\u00e9 galerii v Lublani,<\/p>\r\n
Galerii m\u011bsta Budape\u0161\u0165,<\/p>\r\n
Galerii m\u011bsta Krakov<\/p>\r\n
v soukrom\u00fdch sb\u00edrk\u00e1ch doma i v zahrani\u010d\u00ed.<\/p>","monographies":"
2022 2019 2008 2001 1989 1988 1982 1971 \u010cECH Viktor, Metabolismy zku\u0161enost\u00ed, Art Antiques, 5, 2022, s. 82 \u2013 83<\/em><\/p>\r\n FIALA Ji\u0159\u00ed, Pohyb a otisk my\u0161len\u00ed, 70, 7, 1991, s. 418<\/em><\/p>","reviews":"","texts_unlisted":"","annotations":[{"text":"Ad\u00e9la Matasov\u00e1 is an atypical representative of the generation of misfits entering the Prague art scene in the latter half of the 1960s. She differed from most of her peers primarily in her ability to move freely between artistic disciplines. She retained her natural desire to experiment and try out new methods and techniques in during the political unfavourable times of the second half of the 20th century. The result was an organically connected body of work that began with ephemeral pieces involving paper and its derivatives, foreshadowing a gradual expansion into space, first through sculptural objects, later through performance and site-specific installations, and finally through work with sound and video in the post-revolutionary years.\r\n\r\nIn 1958\u20131964, Matasov\u00e1 studied at the Academy of Fine Arts in Prague at the Vladim\u00edr Sychra school of monumental art. The focus of the studio allowed her to try out a number of techniques used in the decoration of representative and public spaces, whether this involved ceramics, mosaics or stained glass. The creative environment of Sychra\u2019s studio brought together many future progressive artists. In addition to Zden\u011bk Beran, this included Jaroslava Pe\u0161icov\u00e1, Eva Prokopov\u00e1, Jana M\u00ed\u010dkov\u00e1 and Eva and\u00a0\u010cestm\u00edr Jano\u0161ek. While the latter experienced with shotcrete, Matasov\u00e1 was entranced by informel. In its spirit she created a series of paintings, prints and drawings while a student, which she developed in 1966 and\u00a01967 in the series of drawings entitled Subjektivn\u00ed krajiny \/ Subjective Landscapes<\/em>, which introduced the viewer to the immanent world of intertwining fibres and structures of biological origin.\r\n\r\nLike all of her fellow students mentioned above, after leaving art school Matasov\u00e1 immediately became involved in exhibitions, participating in collective shows such as the intergenerational Jarn\u00ed v\u00fdstava 66 \/ Spring Exhibition 66<\/em> at\u00a0M\u00e1nes and the V\u00fdstava mlad\u00fdch \/ Exhibition of the Young<\/em> at the V\u00e1clav \u0160p\u00e1la Gallery the following year. Thanks to her multifaceted training and her inclination towards spatial expression, she was able to try her hand at sculpture in Neratovice as early as 1967, just a few years after graduating from the Academy. The monumental stone \u00a0Znaky v\u00a0prostoru \/ Signs in Space<\/em>, an example of the modernist morphology of the 1960s, reveals her ability to technically master almost any material. In addition to an income, working on state commissions, something Matasov\u00e1 engaged in continuously right up till 1989, offered her the opportunity to upsize the principles embedded in working with paper to a monumental scale. In the 1980s especially, this resulted in several outstanding plaster and ceramic works, such as the relief wall Z\u0159\u00eddlo \/ Foutainhead<\/em> from 1982 for the J\u00e1nsk\u00e9 l\u00e1zn\u011b spa town, and Strom \/ Tree<\/em> for the hospital in Plze\u0148 a year later.\r\n\r\nThe promising start to her career as artist was violently interrupted by the events of 1968, when troops of the Warsaw Pact invaded the country. Like many other artists, Matasov\u00e1 had to deal with the lack of opportunities on the art scene by working as a restorer, an activity that provided her with a modest income for many years. Despite the difficulties involved in presenting her work publicly, in 1971 she managed to mount her first solo exhibition at the Ostrov Summer Palace in Karlovy Vary. The self-confidence acquired through her monumental works then informed her free creations, in which she boldly stepped beyond the constraints of the paper surface. White surrealist objects made of synthetic resin entitled K\u0159\u00ed\u017e \/ Cross<\/em>, Rty \/ Lips<\/em>, Ucho I \/ Ear I<\/em>, Ucho II \/ Ear II<\/em>, Ruka \/ Hand <\/em>and O\u010di \/ Eyes<\/em> are not merely illustrations of sensory organs, but by means of their stylised physicality tease us with unpleasantly erotic connotations. As regards this stage of Matasov\u00e1\u2019s work, comparisons can be drawn with artists working with their own corporeality and with the imprint and fragile existential essence of their own works, e.g. Eva Kmentov\u00e1, Eva Hesse and Alina Szapocnikow.\r\n\r\nThe period of normalisation, the impossibility of exhibiting and a lack of income forced the artist to abandon her aesthetically impressive but financially and spatially demanding method of creating resin objects. In a pragmatic spirit, she returned to printmaking and experiments with paper in works made from cast or wrinkled paper and relief prints in single sheets, as well as in the cycles Doteky \/ Touches<\/em> (1977\u20131979) and Zastaven\u00fd pohyb \/ Suspended Movement<\/em> (1979\u20131980). Haptic, pure white sheets of paper deformed under invisible pressure and touch reveal internal psychological and physical tensions. In 1974, Matasov\u00e1 resolved her creative overload and the need to exhibit with what was at that time a unique event at the Mal\u00e1 sc\u00e9na in \u010cesk\u00e9 Bud\u011bjovice. In the stage performance Pohybov\u00e1 akce k\u00a0hudb\u011b E. Var\u00e9se \/ Movement Action to Music by Edgard Var\u00e8se<\/em> she renewed her childhood interest in dance accompanied by music, sound and shadow play.\r\n\r\nThe 1980s in Czechoslovakia were marked by an easing of conditions and a desire to reunite across generations after a period of separation. In 1982, in the company of other misfits, Matasov\u00e1 gathered with younger artists for an unofficial exhibition entitled Setk\u00e1n\u00ed na tenisov\u00fdch dvorc\u00edch \/ Encounters on Tennis Courts<\/em>. It was during this period that she created fragile flat objects out of resin or linen, such as Z\u00e1t\u011b\u017e \/ Burden<\/em> (1984\u20131986), Poru\u0161en\u00ed \/ Violation<\/em> (1985\u20131986) and the Dialogue<\/em> series (1986\u20131987), in which we begin to sense a mental affinity with the work of Adriena \u0160imotov\u00e1. The turning point came in 1987\/1988, when she began to intervene in space with what had up till then been mostly two-dimensional objects, and created site-specific installations with her linen paper objects. The very first one was an installation of paper objects in the photogenic, burnt-out Trade Fair Palace. This was followed in 1989 by the monumental Situace I \/ Situation I<\/em> that included sound created by Alvin Lucier.\r\n\r\nImmediately after the Velvet Revolution, Matasov\u00e1 achieved compensation for her years of enforced silence in the form of a teaching position at the Academy of Arts, Architecture and Design in Prague in the studio of spatial design, textiles and alternative techniques, where her first students included Ji\u0159\u00ed \u010cernick\u00fd and Pavel Kop\u0159iva. It was these alternative techniques that fascinated the naturally curious artist and which she soon began to incorporate into her work. Her interest in computers and their possible application was most evident. Thanks to new methods, her objects began to move. She remained with linen to begin with, but gradually replaced it with metal or mirrors. Kineticism brought new impulses to her work. For the first time she was able to actually initiate movement and not just metaphorically represent it, as we see in the series Pohyb a\u00a0zastaven\u00ed \/ Movement and Stoppage<\/em> (1989\u20131990), in which she uses materials to capture the fleeting nature of gestures and movements. She also became interested in video, and this culminated in the monumental video installations that she continues to create to this day.\r\n\r\nIn her work after 1989, thanks to advances in technology and its accessibility, Matasov\u00e1 was able to open up new possibilities and to make the most of her natural embrace of various means of expression and media without obstacles. This resulted in the creation of several monumental kinetic objects in space, whose movement is programmed by computer. She combined heavy materials, such as metal with elastic membrane and laser or ultraviolet rays. In 1997, she created Skryt\u00e9 podoby \/ Hidden Forms<\/em>, a collection of luminous kinetic objects that disrupt the viewer\u2019s deeply ingrained approach to the centuries-old static image. The installation consisted of suspended objects that respond to the viewer\u2019s presence by beginning to move imperceptibly and thus evince transformation.\r\n\r\nThe question of interactivity and the blurring of boundaries between the work and viewer also appears in other installations and objects by Matasov\u00e1 that feature mirrors that make the viewer both a part of the work and its observer. This was the case, for example, in the object Iluminace \u2013 \u010ce\u0159en\u00ed \/ Illumination - Purification<\/em> from 2005, which was created for the exhibition No\u010dn\u00ed hl\u00eddka srdce \/ Night Watch of the Heart<\/em>, an exhibition commemorating the 100th anniversary of Vladim\u00edr Holan\u2019s birth at Letohr\u00e1dek Hv\u011bzda. Her aim was to process the space comprehensively, with literally everything, i.e. from light and movement to the sound and feelings the viewer will take away with them.\r\n\r\nSince 2008, Matasov\u00e1 has focused on performance, as evidenced in the cycles \u010cechy le\u017e\u00ed u\u00a0mo\u0159e \/ Bohemia Lies by the Sea<\/em> and\u00a0Mluv ke mn\u011b \/ Speak to Me<\/em> (both 2008) and Jak si ustele\u0161 \/ How You Make Your Bed<\/em> (2010\u20132014). More recently, she has been creating videos with social overlaps, such as Ka\u017ed\u00fd jsme n\u011bkdy p\u0159\u00edsahali \/ We Have All Taken an Oath at Some Time<\/em> (2019) and Ka\u017ed\u00fd se n\u011bkdy cht\u011bl dotknout jsoucnosti \/ Everyone Has Wanted to Touch Existence at Some Time<\/em> (2019\u20132020). In 2022, Matasov\u00e1 had her first retrospective exhibition Metasyst\u00e9my<\/em> at the Gallery of the Central Bohemian Region in Kutn\u00e1 Hora, which was accompanied by the publication Mezi\u010das \/ Meantime<\/em>, a comprehensive overview of her life\u2019s work.","date":2023,"authors":[1902]}],"artworks":[107217,111873,120279,120280,120281,120282,120283,120284,120285,120286,120291,120292,120293,120294,120306,120307,120308,120309,120310,120311,120312,120313,120314,120315,120316,120319,120320,120325,120326,120327,120328],"videos":[124855,124861]},"yoast_head":"\n
MORGANOV\u00c1 Pavl\u00edna, PACHMANOV\u00c1 Martina, MARE\u0160OV\u00c1 Veronika, KOLE\u010cEK Michal, Ad\u00e9la Matasov\u00e1: Mezi\u010das\/Meatime, GASK, 2022
KOLE\u010cEK Michal, MARE\u0160OV\u00c1 Veronika, Ad\u00e9la Matasov\u00e1: Metasyst\u00e9my\/Metasystems, GASK, 2022<\/em><\/p>\r\n
KRATOCHV\u00cdL Jen, Ad\u00e9la Matasov\u00e1: Interface 2014-2017, V\u0160UP, 2019<\/p>\r\n
Fiala Ji\u0159\u00ed, MACHALICK\u00dd Ji\u0159\u00ed, KOT\u00cdK Charlotta, Ad\u00e9la Matasov\u00e1, Gallery, 2008<\/p>\r\n
PACHMANOV\u00c1 Martina, KOT\u00cdK Charlotta, Ad\u00e9la Matasov\u00e1: Fiktivn\u00ed projekty, Galerie V\u00e1clava \u0160p\u00e1ly, 2001<\/p>\r\n
P\u00c1NKOV\u00c1 Marcela, Ad\u00e9la Matasov\u00e1: Instalace, \u00daKD\u017d, 1989<\/p>\r\n
P\u00c1NKOV\u00c1 Marcela, HON\u017d\u00cdK Karel, Ad\u00e9la Matasov\u00e1, Reli\u00e9fy, Letohr\u00e1dek Ostrov, 1988<\/p>\r\n
K\u0158\u00cd\u017d Jan, Ad\u00e9la Matasov\u00e1, Galerie ve v\u011b\u017ei, M\u011bln\u00edk, 1982<\/p>\r\n
K\u0158\u00cd\u017d Jan, Ad\u00e9la Matasov\u00e1, Galerie um\u011bn\u00ed Karlovy Vary, 1971<\/p>","articles":"