1941-1943 Academy of Arts, Architecture and Design, Prague, Anton\u00edna Strnadela\u00b4s studio<\/p>\r\n
1945-1948 Anton\u00edn Kybal\u00b4s studio<\/p>\r\n
1939-1940 Graphic School of J. \u0160v\u00e1b<\/p>","groups":null,"membership":"","exhibitions_solo":"2012\r\nOlga Karl\u00edkov\u00e1: Sly\u0161en\u00e9 krajiny, Galerie Vysok\u00e9 \u0161koly um\u011bleckopr\u016fmyslov\u00e9 (Galerie V\u0160UP), Praha 1 (Prague)\r\n\r\n2011-2012\r\nOlga Karl\u00edkov\u00e1: Byl ve\u010der a bylo jitro, den p\u00e1t\u00fd, Galerie Benedikta Rejta, Louny\r\n\r\n2010\r\nProstor pro sv\u011btlo a \u0159e\u010d p\u0159\u00edrody, Topi\u010d\u016fv salon, Praha (Prague)\r\nOlga Karl\u00edkov\u00e1: Svi\u0161\u0165ouni, \u017e\u00e1by a sk\u0159ivani, Galerie \u0160kolsk\u00e1 28, Praha\r\n\r\n2005\r\nGalerie Atrium Praha\r\n\r\n2000\r\nGalerie um\u011bn\u00ed Karlovy Vary\r\n\r\n1999\r\nObecn\u00ed galerie Beseda Praha\r\n\r\n1998\r\nGalerie Ji\u0159\u00edho J\u00edlka \u0160umperk, Galerie Klenov\u00e1 Klatovy\r\n\r\n1997\r\nM\u011bstsk\u00e9 museum a galerie Synagoga Hranice, St\u00ebdtische Galerie Wolfsburg\r\n\r\n1996\r\nGalerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed Litom\u011b\u0159ice, V\u00fdstavn\u00ed s\u00ed\u0148 Emila Filly \u00dast\u00ed n.L.\r\n\r\n1995\r\nGalerie Via Art\r\n\r\n1993\r\n\u010cesk\u00e9 muzeum v\u00fdtvarn\u00fdch um\u011bn\u00ed Praha \/s M. Pallou, M. \u0160ejnem a M. Maurem\/\r\n\r\n1990\r\nGalerie modern\u00edho um\u011bn\u00ed Roudnice n.L.\r\n\r\n1988\r\n\u00dastav makromolekul\u00e1rn\u00ed chemie Praha\r\n\r\n1987\r\nSovinec\r\n\r\n1983\r\nKl\u00e1\u0161ter Doksany a Nemocnice Vysok\u00e9 M\u00fdto\r\n\r\n1975\r\nGalerie ve v\u011b\u017ei M\u011bln\u00edk \/se S. Klime\u0161em\/\r\n\r\n1964\r\nUm\u011bleck\u00e1 beseda,\r\n\r\n1959\r\nGalerie \u010cS Praha","exhibitions_group":"2013\r\nDoteky hudby, Severo\u010desk\u00e1 galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed v Litom\u011b\u0159ic\u00edch, Litom\u011b\u0159ice \r\nV\u00fdtvarn\u00e9 um\u011bn\u00ed - v\u00fdstava, Galerie Nov\u00e1 s\u00ed\u0148, Praha (Prague)\r\n\r\n2009-2010\r\nVizu\u00e1ln\u00ed poezie, Geofyzik\u00e1ln\u00ed \u00fastav AV \u010cR, p\u0159edn\u00e1\u0161kov\u00fd s\u00e1l, Praha (Prague)\r\n\r\n2008\r\nPohledy do sb\u00edrek Severo\u010desk\u00e9 galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed v Litom\u011b\u0159ic\u00edch, Severo\u010desk\u00e1 galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed v Litom\u011b\u0159ic\u00edch, Litom\u011b\u0159ice\r\n\r\n2007\r\nDie durchsichtige Welt, Landschloss Pirna - Zuschendorf, Pirna - Zuschendorf\r\nPr\u016fzra\u010dn\u00fd sv\u011bt: Podoby vody \/ Durchsichtige Welt, Galerie modern\u00edho um\u011bn\u00ed v Roudnici nad Labem, Roudnice nad Labem\r\n\r\n2005\r\nM\u00edsta pam\u011bti, Galerie \u0160ternberk, \u0160ternberk\r\nProstor a \u010das, Galerie modern\u00edho um\u011bn\u00ed v Roudnici nad Labem, Roudnice nad Labem \r\n..o v\u011bcech p\u0159\u00edrodn\u00edch, Letohr\u00e1dek Ostrov, Ostrov\r\n\r\n2004\r\n\u0160edes\u00e1t\u00e1 \/ The sixties ze sb\u00edrky Galerie Zlat\u00e1 husa v Praze, D\u016fm um\u011bn\u00ed m\u011bsta Brna, Brno\r\nShowtime: A Century of the Czech Film Posters, Museu de Arte de Macau \/ Macao Museum of Art, Macao\r\nZa sklem. Ze sb\u00edrky Jaroslava Krb\u016f\u0161ka, Galerie Ji\u0159\u00edho J\u00edlka, \u0160umperk\r\nHudba ve v\u00fdtvarn\u00e9m um\u011bn\u00ed, Kol\u00edn, Kol\u00edn\r\nSterne und Illusionen: Tschechisches Filmplakat des 20. Jahrhundert, Tschechisches Zentrum Dresden (\u010cesk\u00e9 centrum Dr\u00e1\u017e\u010fany), Dr\u00e1\u017e\u010fany (Dresden)\r\n\r\n2003-2004\r\nUm\u011bn\u00ed je abstrakce. \u010cesk\u00e1 vizu\u00e1ln\u00ed kultura 60. let, Salon, Kabinet, Olomouc \r\n\r\n2003\r\nWorld of Stars and Illusions: Gems of the Czech Film Poster Tradition, Czech Centre New York (\u010cesk\u00e9 centrum New York), New York\r\nSv\u011bt hv\u011bzd a iluz\u00ed. \u010cesk\u00fd filmov\u00fd plak\u00e1t 20. stolet\u00ed, M\u00e1nes, Praha\r\n\r\n2002\r\nMo\u017en\u00e1 sd\u011blen\u00ed, Moravsk\u00e9 um\u011bleckopr\u016fmyslov\u00e9 muzeum, Brno\r\nMinisalon, Majapahit Mandarin Hotel, Surabaya\r\n\r\n2001-2002\r\nPour f\u00e9licit\u00e9 1972 - 2002: Adres\u00e1t MUDr. Jaroslav Dost\u00e1l, Galerie Ji\u0159\u00edho J\u00edlka, \u0160umperk \r\n\r\n2001\r\nMo\u017enosti prom\u011bny I, Galerie Franti\u0161ka Drtikola, P\u0159\u00edbram\r\n\r\n2000\r\nModern\u00ed \u010desk\u00e1 kresba, Galerie Vltav\u00edn, Masarykovo n\u00e1b\u0159e\u017e\u00ed, Praha\r\nSou\u010dasn\u00e1 minulost. \u010cesk\u00e1 postmodern\u00ed moderna 1960-2000, Al\u0161ova jiho\u010desk\u00e1 galerie v Hlubok\u00e9 nad Vltavou, Hlubok\u00e1 nad Vltavou\r\n\r\n1999\r\nP\u0159\u00edr\u016fstky sb\u00edrek st\u00e1tn\u00edch galeri\u00ed z let 1990-1997, J\u00edzd\u00e1rna Pra\u017esk\u00e9ho hradu, Praha (Prague)\r\nUm\u011bn\u00ed pro nemocnici, Galerie V\u00e1clava \u0160p\u00e1ly, Praha (Prague)\r\n\r\n1998-1999\r\nUm\u011bleck\u00e1 beseda 1998, M\u00e1nes, Praha (Prague)\r\n\r\n1998\r\nMinisalon, Bibliotheque Royal de Belgique, Brusel (Bruxelles)\r\n\r\n1997-1998\r\nProm\u011bny krajiny v \u010desk\u00e9m mal\u00ed\u0159stv\u00ed 20. stolet\u00ed, Veletr\u017en\u00ed pal\u00e1c, Praha\r\n\r\n1997\r\nUm\u011bleck\u00e1 beseda, Galerie Bayer & Bayer, Mosteck\u00e1 16, Praha\r\nUm\u011bn\u00ed zastaven\u00e9ho \u010dasu \/ Art when time stood still, \u010cesk\u00e1 v\u00fdtvarn\u00e1 sc\u00e9na 1969-1985, St\u00e1tn\u00ed galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed v Chebu, Cheb\r\nZ nesb\u00edrky Marcely P\u00e1nkov\u00e9, Galerie Hermit - Studio 600, Praha\r\n\r\n1996\r\nTemple Bar International Prints, Temple Bar, Dublin\r\n\r\n1991- 1995\t\r\nUm\u011bleck\u00e1 beseda, V\u00fdstavn\u00ed s\u00ed\u0148 M\u00e1nes Praha\r\n\t\t\t\r\n1995\t\r\nUm\u011bn\u00ed frot\u00e1\u017ee \/ Art of Frottage, Galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed Litom\u011b\u0159ice, Oblastn\u00ed galerie Liberec, Muzeum Krom\u011b\u0159\u00ed\u017e\r\n\r\n1994\t\r\nZ\u00e1znam nejrozmanit\u011bj\u0161\u00edch faktor\u016f \/ Records of the most various factors, J\u00edzd\u00e1rna Pra\u017esk\u00e9ho hradu, Praha\r\nOhniska znovuzrozen\u00ed \/ Focal Points of Revival, Galerie hlavn\u00edho m\u011bsta Prahy \u2013 m\u011bstsk\u00e1 knihovna Praha\r\n\r\n1992\t\r\nP\u0159\u00edr\u016fstky N\u00e1rodn\u00ed galerie \/ Acquzitions of the National Gallery in Prague, J\u00edzd\u00e1rna Pra\u017esk\u00e9ho hradu, Praha\r\nTvary t\u00f3n\u016f \/ Forms of Tones, V\u00fdstavn\u00ed s\u00ed\u0148 M\u00e1nes\r\n\r\n1991\t\r\nKontrasty \/ Contrasts, Dom kult\u00fary Bratislava\r\nV dimenz\u00edch pr\u00e1zdna \/ In Dimensions of Void, Galerie modern\u00edho um\u011bn\u00ed Roudnice nad Labem\r\n\u0160ed\u00e1 cihla \/ Grey Brick, Galerie U b\u00edl\u00e9ho jednoro\u017ece Klatovy, D\u016fm um\u011bn\u00ed Opava \r\n\r\n1990\t \r\nKontrasty \/ Contrasts, V\u00fdstavn\u00ed s\u00ed\u0148 \u00daLUV Praha\t\t\t\t\t\t\r\nCesty kresby a grafiky \/ Ways of drawings and graphics, Pal\u00e1c kultury Praha\r\n\r\n1989\t\r\nPocta um\u011blc\u016f J. Chalupeck\u00e9mu \/ Honor of artists to Jind\u0159ich Chalupeck\u00fd , M\u011bstsk\u00e1 knihovna, Praha \r\n\r\n1988\t\r\nMiedzinarodowe trienale risunku Wroclaw \/ International Triennale of drawings, Polsko\r\n\r\n1977\t\r\nPo\u00e9ticas visuasis \/ , Museu de arte contemporanea Sao Paulo, Braz\u00edlie\t\t\r\n\r\n1969\t\r\nL\u00b4art tch\u00e9que actuel, Renaault-Elyss\u00e9es Par\u00ed\u017e, Francie\r\n\r\n1967\t\r\nGalerij Orez Haag, Holandsko\r\n\r\n1966\t\r\nJarn\u00ed v\u00fdstava 66 \/ Spring Exhibition 66, V\u00fdstavn\u00ed s\u00ed\u0148 M\u00e1nes, Praha\r\n\r\n1964\t\r\nRychnov 64, Orlick\u00e1 galerie Rychnov nad Kn\u011b\u017enou\r\n\r\n1963\t\r\nSto let Um\u011bleck\u00e9 besedy \/ 100 years of Um\u011bleck\u00e1 beseda, Obecn\u00ed d\u016fm Praha\r\n\r\n1964\t\r\nV\u00fdstava mlad\u00fdch \/ Exhibition of Youngs, D\u016fm um\u011bn\u00ed Brno","realizations_other":"","collections":"
National Gallery, Prague, Moravian Gallery, Brno, Art Gallery, Karlovy Vary, Klenov\u00e1\/Klatovy Gallery, North Bohemian Gallery of Fine Arts, Litom\u011b\u0159ice, Benedikta Rejt\u00b4s Gallery, Louny, Gallery of Fine Art, Ostrava, East Bohemian Gallery, Pardubice, Czech Museum of Fine Art, Prague, Zlat\u00e1 husa Gallery, Prague, Gallery of Modern Art, Roudnice n.L., Columbia University, New York (USA)<\/p>","monographies":"
(selection)<\/p>\r\n
V\u0161eobecn\u00e1 encyklopedie ve \u010dty\u0159ech svazc\u00edch Diderot, d\u00edl II<\/p>\r\n
D\u011bjiny \u010desk\u00e9ho v\u00fdtvarn\u00e9ho um\u011bn\u00ed VI\/I, II, Academia, Praha 2007<\/p>\r\n\r\n
L. Vachtov\u00e1, Obrazy Olgy Karl\u00edkov\u00e9, Host do domu 8\/1964<\/p>\r\n
L. Vachtov\u00e1, Zem\u011b Olgy Karl\u00edkov\u00e9, VU 8\/1969,<\/p>\r\n
M. Hlav\u00e1\u010dkov\u00e1, text v katalogu v\u00fdstavy v Roudnici n.L. 1990<\/p>\r\n
J. Valoch, O.K. text katalogu v\u00fdstavy v Roudnici n.L. 1990<\/p>\r\n
J. Valoch, O.K. text katalogu v\u00fdstavy v Litom\u011b\u0159ic\u00edch 1996<\/p>\r\n
J. Valoch, Reflexe n\u011bkter\u00fdch p\u0159\u00edrodn\u00edch fenomen\u016f, text kat. v\u00fdstavy v Hranic\u00edch 1997<\/p>\r\n
M. Ne\u0161lehov\u00e1, Poselstv\u00ed jin\u00e9ho v\u00fdrazu, Praha 1997<\/p>\r\n
V. C\u00edlek, D\u00fdchat s pt\u00e1ky, Doko\u0159\u00e1n, Praha 2009<\/p>\r\n
M. Vojt\u011bchovsk\u00fd, Olga Karl\u00edkov\u00e1, svi\u0161\u0165ovi, \u017e\u00e1by a sk\u0159ivani, taxt k v\u00fdstav\u011b Galerie \u0160kolsk\u00e1 28 2010<\/p>\r\n
J. Rous, O.K. Prostor pro sv\u011btlo a \u0159e\u010d p\u0159\u00edrody, text katalogu k v\u00fdstav\u011b v Topi\u010dov\u011b salonu 2010<\/p>","articles":"","reviews":"","texts_unlisted":"","annotations":[{"text":"
During the war Olga Karl\u00edkov\u00e1 studied at the Officina Pragensis design school, after which until 1948 she attended the Academy of Arts, Architecture and Design in Prague at the ateliers led by A. Strnadel and A. Kybal. As well as free work she created designer textiles for \u00daBOK (the Institute of Residential and Clothing Culture), an institution for which many other artists worked. At a time when it was impossible to exhibit abstract art, this design work allowed her to work with abstraction, as can be seen in the Czech contribution to the World Exhibition EXPO 58. Karl\u00edkov\u00e1 lived and worked in Prague, and from the middle of the sixties worked in ateliers in Northern Bohemia.<\/p>\r\n
Olga Karl\u00edkov\u00e1 is a member of the generation which during the sixties completed its entry into the wider international context, only to experience repressive normalisation after the August occupation in 1968. At first her work was inspired by the circle surrounding V\u00e1clav Bartovsk\u00fd, in whose atelier she encountered artists who in the fifties formed the UB 12 group, an offshoot of the Um\u011bleck\u00e1 beseda group, V. Bo\u0161t\u00edk, S. Kol\u00edbal, A. \u0160imotov\u00e1, J. John, V\u011bra and Vladim\u00edr Janou\u0161ek, and many others. (A critic and theoretician close to them in opinion was Jind\u0159ich Chalupeck\u00fd, whom she met through Bartovsk\u00fd). However, Olga Karl\u00edkov\u00e1 was also interested by structural abstraction and art informel, which allowed her to commence an examination of her life-long themes of space, land and sea, later joined by the song of birds, whales and recordings of their movement. Her early work with the structure of colour transformed symbols of land or water and opened them up to an endless space, which became her dominant theme. However, this space had a deceptive form \u2013 in pictures of friends\u2019 ateliers, chapels, houses in Segurette, as well as in pictures of the sea, which the artist encountered in France in the middle of the sixties. In these pictures space is multiplied by light and its reflections, creating subtle abstract constructions. Her pictures of the sea, space and light represent the search for a pictorial expression and the symbolisation thereof, similarly to V\u00e1clav Bo\u0161t\u00edk who linked symbols of the cosmos and its sacral foundation in his pictures.<\/p>\r\n
During the sixties Olga Karl\u00edkov\u00e1\u2019s work turns to the acoustics of natural space, to details of its intangible infinity, represented in her work by the song of birds or whales, the croaking of frogs, as well as the sounds of bells or drums. She recorded these in drawings using pencil, brush and ink or pen, and her records have a scriptural character. Sometimes she captured the songs of birds and sounds of nature by means similar to seismographic recordings of the course and intensity of sound on a gradually revolving role of paper. However, she transferred these recordings into pictorial form, though these recordings retained their scriptural character in colour surfaces defining the space. The recordings of natural sounds, voices, tones or song unfold with the movement of their originators, with swifts, humming birds, rooks, larks within the space of their existence. However, space and time and the course of movement were not abstract categories for Karl\u00edkov\u00e1, they interpreted the artist\u2019s perception of their permanence and infinity while operating as a profound experience generalised into spiritual form. The polarity of intimate, searching and listening sensitivity was balanced by a knowledge of the general order and its eternality. Her perception and interpretation of the appearance of nature can be understood as being close in a certain way to Chinese poetry and Taoist meditations on natural phenomena, which she was well acquainted with. If you understand the heart of these two plants \/ then you can measure the surf of the sea, writes a Chinese poet.<\/p>\r\n
In this way the work of Olga Karl\u00edkov\u00e1 can be understood as a score or notation. However, her recordings of natural sounds are not bound by the five-line stave, but spread out in the form of a mobile recording of sounds into space. In the sixties John Cage and his pupils were involved with sound recordings and notations at Black Mountain College. At the end of the fifties Edgar Var\u00e9se created a score of his audio construction Po\u00e9me \u00e9lectronique for Corbusi\u00e9r\u2019s pavilion at Expo 58, and in the sixties Milan Grygar created his performative acoustic drawings. The work of Olga Karl\u00edkov\u00e1 represents, in the structural pictorial forms of earth and water, a spontaneous analogy to land art, while at the same time the transformation of natural acoustic phenomena anticipated conceptualism, a fact borne out by her participation in 1993 at the exhibition of conceptual art by M. Palla, M. \u0160ejn and M. Maur.<\/p>\r\n
After 1977, when she signed Charta 77, her work was completely removed from public space. However, it was presented during the eighties at an extensive exhibition prepared by Ludv\u00edk Hlav\u00e1\u010dek in the cloister at Doksany. Her inputs into the intimacy of natural appearance and its significance were perceived at that time as an ethical gesture.<\/p>","date":2010,"authors":[1857]}],"artworks":[110938,110939,110940,110941,110942,110943,110944,120088],"videos":null},"yoast_head":"\n