{"id":121700,"date":"2024-07-10T23:04:54","date_gmt":"2024-07-10T21:04:54","guid":{"rendered":"http:devel.artlist.cz\/artist\/hosek-2\/"},"modified":"2025-01-07T18:14:03","modified_gmt":"2025-01-07T17:14:03","slug":"jakub-hosek","status":"publish","type":"artist","link":"https:\/\/artlist.cz\/en\/umelci\/jakub-hosek\/","title":{"rendered":"Ho\u0161ek"},"featured_media":0,"template":"","class_list":["post-121700","artist","type-artist","status-publish","hentry","keyword-grafika","keyword-malba","keyword-painting"],"acf":{"nicknames":"","date_born":1979,"date_death":0,"place_born":"Prague","lives":"Prague","web":"https:\/\/www.works.io\/jakub-hosek","idatum":"http:\/\/vvp.avu.cz\/archivy\/archiv-umelcu\/110\/?table=autori","address":"Na dra\u010dk\u00e1ch 20, Prague 6 \u2013 St\u0159e\u0161ovice 162 00, Czech Republic","email":"jakub.hosek@radio1.cz\r\nkiss.tempera@minorityrecords.com\r\nindie_twin_boy@am180.org","phone":"+420 731177 641","biography":"Studies:\r\n1998-2004 Academy of Fine Arts, Prague, painting studio of Vladim\u00edr Skrepl and Ji\u0159\u00ed Kovanda\r\n1994-1998 Gymn\u00e1zium (High School) Evropsk\u00e1, Prague\r\n\r\nStipends:\r\n2003 Middlesex University, London\r\n\r\nAwards and grants:
2011 winner of CZ Strabag Artaward, Vienna, Austria
2009 - 3.place sympathy award Critique Award for Young Painting, Prague, Czech republic \r\n2007 - finalist of Sovereign European Art Prize
2005,2007 - finalist of Jind\u0159ich Chalupeck\u00fd Award
2004 - finalist of STARTPOINT, Czech Republic

Residencies:
2015 VARP Visegrad fund, Taba\u010dka Kulturfabrik, Ko\u0161ice, Slovakia
MMCA, Seoul, Korea, Republic Of
2014 Summer Studio, Royal Institut of Arts \/ KKH, Stockholm, Sweden
Nordic Arts Association, Stockholm, Sweden
2013 Strabag ARTstudio, Vienna, Austria
2010 ISCP, New York, United States
2008 tranzit, MuseumsQuartier, Vienna, Austria
2006 PROGR, Bern, Switzerland \t\t\t\t\t

Collections:
private collections, Czech Republic
National Museum of Modern and Contemporary Art, Korea, Seoul, Korea, Republic Of
Milan Dobnak collection, Ko\u0161ice, Slovakia
private collection, Stockholm, Sweden
FAIT gallery collection, Brno, Czech Republic
STRABAG artcollection, Vienna, Austria
private collections, Vienna, Austria
Bonner Kunstverein collection, Bonn, Germany
private collection, Copenhagen, Denmark
private collection, Belgium
Galerie Klatovy - Klenov\u00e1, Klatovy, Czech Republic
R\u00fcdiger Sch\u00f6ttle collection, M\u00fcnchen, Germany
Richard Adam collection, Brno, Czech Republic
Marek collection, Brno, Czech Republic","groups":null,"membership":"INDIE TWINS\r\nAM 180 COLLECTIVE","exhibitions_solo":"2013\r\nJakub Ho\u0161ek: Talking Shit About A Pretty Sunset, V\u00fdstavn\u00ed s\u00ed\u0148 Sokolsk\u00e1 26, Ostrava \r\n\r\n2012\r\nJakub Ho\u0161ek: Fake Empire, Artlounge im Strabag Haus, Wien\r\n\r\n2009\r\nJakub Ho\u0161ek: Let me rule\/Nechte m\u011b vl\u00e1dnout, Galerie Ji\u0159\u00ed \u0160vestka, Biskupsk\u00fd dv\u016fr, Praha\r\n\r\n2007\r\nCena Jind\u0159icha Chalupeck\u00e9ho - Fin\u00e1le 2007 (Jakub Ho\u0161ek), Galerie A. M. 180, Praha\r\nJakub Ho\u0161ek: Dob\u0159e si rozmysli, co nev\u00e1h\u00e1\u0161 ztratit, Galerie \u0160ternberk, \u0160ternberk \r\n\r\n2006\r\nJe mladej,m\u00e1 \u010das, galerie ad astra, Ku\u0159im\r\nJakub Ho\u0161ek, Turner Contemporary, Margate, UK\r\n\r\n2005\r\nJakub Ho\u0161ek (+Kim Nekarda and Johan Zetterquist), galerie R\u00fcdiger Sch\u00f6ttle, Munich\r\n\r\n2004\r\nIndie twins (with Ane\u017eka Ho\u0161kov\u00e1), galerie Eskort, Brno\r\n\r\n2002\r\nLikelikethethethedeath, open air galerie CO14, Prague\r\n\r\n2000\r\nKabaret, skrinka BJ, Praha","exhibitions_group":"2012\r\nZa\u010d\u00e1tek stolet\u00ed \/ The Beginning of the Century, D\u016fm um\u011bn\u00ed, Ostrava\r\nZa\u010d\u00e1tek stolet\u00ed \/ The Beginning of the Century, V\u00fdstavn\u00ed s\u00ed\u0148 Masn\u00e9 kr\u00e1my, Plze\u0148\r\nVl\u010dice noci, Galerie Alternativa, Jihlava\r\n\r\n2011\r\nAne\u017eka Ho\u0161kov\u00e1, Jakub Ho\u0161ek: Paranoid Couch Potato, Prinz Prager Gallery, Praha\r\n\r\n2010\r\nAltruismus: Kunst aus Tschechien heute, Bonner Kunstverein, Bonn\r\n\r\n2009\r\nTransfer, D\u016fm p\u00e1n\u016f z Kun\u0161t\u00e1tu, Brno\r\nCena kritiky - malba a jej\u00ed p\u0159esahy (2. ro\u010dn\u00edk), Galerie kritik\u016f, Praha\r\nNechte m\u011b vl\u00e1nout, Galerie Ji\u0159\u00ed \u0160vestka, Biskupsk\u00fd dv\u016fr, Praha\r\n\r\n2008\r\n9. auk\u010dn\u00ed salon v\u00fdtvarn\u00edk\u016f - 382 d\u00e1rc\u016f pro Konto Bari\u00e9ry, Karolinum, v\u00fdstavn\u00ed s\u00ed\u0148, Praha\r\nTransfer, White Box, Mnichov (M\u00fcnchen)\r\n6. bien\u00e1le mlad\u00e9ho um\u011bn\u00ed Zvon 2008, D\u016fm U Kamenn\u00e9ho zvonu, Praha\r\nObrazy slov \/ Reflecting Words, Letohr\u00e1dek Hv\u011bzda, Praha\r\nINTRO 518 TE\u010e 69 TE\u010e* TE\u010e 180 BONUS Q TRACK!, Karlin Studios, Praha\r\nModern\u00ed a pov\u00e1le\u010dn\u00e9 um\u011bn\u00ed, sou\u010dasn\u00e9 um\u011bn\u00ed, fotografie, Galerie 5. patro, Praha\r\nSpleen & Ideal: Kategorizace ext\u00e1z, Karlin Studios, Praha\r\nEva Ko\u0165\u00e1tkov\u00e1: V\u00fdtvarn\u00e1 v\u00fdchova, Karlin Studios, Praha\r\n\r\n2007\r\nSTILL: Another exhibition of painting, Centrum pro sou\u010dasn\u00e9 um\u011bn\u00ed FUTURA, Praha 5\r\nSpleen & Ideal: Kategorizace ext\u00e1z, M\u00fazeum Vojtecha L\u00f6fflera, Ko\u0161ice\r\nVitamin Painting (Spleen & Ideal: Kategorizace ext\u00e1z), Gal\u00e9ria Bastart - Bastart Contemporary, Bratislava\r\nArt Prague. 6. veletrh sou\u010dasn\u00e9ho um\u011bn\u00ed \/ 6th International Contemporary Art Fair, M\u00e1nes, Praha\r\nSpleen & Ideal: Kategorizace ext\u00e1z, Stredoslovensk\u00e1 gal\u00e9ria, Bansk\u00e1 Bystrica\r\nAmaro Jilo \/ Na\u0161e srdce, D\u016fm um\u011bn\u00ed m\u011bsta Brna, Brno\r\nSpleen & Ideal: Kategorizace ext\u00e1z, Galerie Brno, Brno\r\n\r\n2006\r\nAkn\u00e9 \/ Acne: Sou\u010dasn\u00e1 \u010desk\u00e1 malba ze sb\u00edrky Richarda Adama \/ Contemporary Czech Painting from the Richard Adam Collection, Galerie Rudolfinum, Praha\r\nIV. Zl\u00ednsk\u00fd salon mlad\u00fdch: Prvn\u00ed spole\u010dn\u00e1 p\u0159ehl\u00eddka \u010desk\u00fdch a slovensk\u00fdch um\u011blc\u016f do t\u0159iceti let, Z\u00e1mek Zl\u00edn, 2. patro, Zl\u00edn\r\nV. Zl\u00ednsk\u00fd salon mlad\u00fdch: Prvn\u00ed spole\u010dn\u00e1 p\u0159ehl\u00eddka \u010desk\u00fdch a slovensk\u00fdch um\u011blc\u016f do t\u0159iceti let, D\u016fm um\u011bn\u00ed, Zl\u00edn\r\nHot stuff,Stanica, \u017dilina, Sk\r\nSubkultura 2006, mystic sk8 cub, Praha\r\nFluff fest 2006,european hardcore summercamp, Rokycany\r\n\r\n2005\r\nEastern aliance 2, Motorenhalle, Dresden\r\nKosmix, Gps art gate, Praha\r\n5.biennale ZVON 2005, D\u016fm u Kamenn\u00e9ho zvonu, Praha\r\nPrague Biennale 2 (sekce Expanded Painting), Karlin hall, Praha\r\nCriss\/Cross 05, Z\u00e1meck\u00e1 galerie Sk\u00e1ly-Bischofstein\r\nII.ro\u010dn\u00edk mal\u00ed\u0159sk\u00e9ho sympozia, galerie Brno, Brno\r\nFin\u00e1le ceny Jind\u0159ich Chalupeck\u00e9ho, galerie Ghmp-M\u011bstsk\u00e1 knihovna, Praha\r\n\u017de je to \u0161patn\u00e9,ale je\u0161t\u011b hor\u0161\u00ed, galerie AVU, Praha\r\n\r\n2004\r\nCriss\/cross 04, Broumov\r\nDiplomanti, AVU, Praha\r\nStartpoint, galerie Klatovy\/Klenov\u00e1-s\u00fdpka, Klenov\u00e1\r\nPram room jako host Michala P\u011bchou\u010dka, galerie Ji\u0159i \u0160vestka, Praha\r\nCzech the market, galerie Kai Hilgemann, Berlin\r\nOpen Art, Rathausgalerie, Munich\r\n\r\n2003\r\n\u0179eny, galerie Doubner, Praha\r\nDrawing prize exhibition, Middlesex University school gallery, London\r\n\r\n2002\r\nJo-jo efekt, Wortner\u016fv d\u016fm AJG, \u0106esk\u00e9 Bud\u011bjovice\r\n\r\n2001\r\nCasino, univers\u00e1ln\u00ed prostor NOD, Praha\r\nArtrocksedativefrequencies, (sou\u010d\u00e1st 1.ro\u010dn\u00edku free dimension festu),kulturn\u00ed centrum Sedm, T\u00e1bor\r\nCriss\/cross 01, Broumov\r\nMagnetic fields, galerie Jelen\u00ed, Praha\r\n \r\n2000\r\nJarn\u00ed sr\u00e1\u010di, galerie Mysl\u00edkova, Praha\r\n00 iceroom, (v r\u00e1mci 7let experiment\u00e1ln\u00edho lo-fi,emo,punk,hardcore klubu), Ajsr\u016fm klub, Praha-P\u0159ezletice\r\nEnkl\u00e1va, prostor Kamenick\u00e1, Praha\r\n\r\n1999\r\nPokoji\u010dek, AVU-\u010d.303, Praha\r\nPodzimn\u00ed sp\u00e1\u010di, galerie Mysl\u00edkova, Praha","realizations_other":"Performances:\r\n2007\r\nCena Jind\u0159icha Chalupeck\u00e9ho fin\u00e1le 2007 \/ Jind\u0159ich Chalupeck\u00fd Award Final 2007, Klub Roxy, Praha\r\n\r\n","collections":"private collections, Czech Republic National Museum of Modern and Contemporary Art, Korea, Seoul, Korea, Republic Of Milan Dobnak collection, Ko\u0161ice, Slovakia private collection, Stockholm, Sweden FAIT gallery collection, Brno, Czech Republic STRABAG artcollection, Vienna, Austria private collections, Vienna, Austria Bonner Kunstverein collection, Bonn, Germany private collection, Copenhagen, Denmark private collection, Belgium Galerie Klatovy - Klenov\u00e1, Klatovy, Czech Republic R\u00fcdiger Sch\u00f6ttle collection, M\u00fcnchen, Germany Richard Adam collection, Brno, Czech Republic Marek collection, Brno, Czech Republic","monographies":"GA2LERIE (Va\u0148ous Petr ed. ), vydal Kulturn\u00ed t\u00fdden\u00edk A2, s.r.o. jako p\u0159\u00edlohu v roce 2007 \r\nP. Va\u0148ous, Resetting\/ Jin\u00e9 cesty k v\u011bcnosti\/ Alternative Ways To Objektivity (katalog v\u00fdstavy), GHMP - M\u011bstsk\u00e1 knihovna, 21. 12. 2007 - 23. 3. 2008, nestr., Praha 2008","articles":"Indie Twins \/Jakub Ho\u0161ek + Ane\u017eka Ho\u0161kov\u00e1\/ profil \u010dasopis UM\u011aLEC 2003\/3, str. 74+75 \r\nJakub Ho\u0161ek profil \u010dasopis PARS PRO TOTO 2003\/3 \u2013 cena Start Point prezentace \r\nIndie Twins profil DART 03\/2004 str.5\r\nJakub Ho\u0161ek katalog Prague Biennale 2 str.86+87\r\nJakub Ho\u0161ek profil \u010dasopis Art&antique 2004\/10\r\nA.M. 180 galerie profil\/ galerie m\u011bs\u00edce \u010dasopis Art&antique 2005\/05 str.81\r\nJakub Ho\u0161ek+Indie twins profil+rozhovor \u010dasopis \u017divel 2005\/26\r\nJe\u0159\u00e1bkov\u00e1 Edith: Jakub Ho\u0161ek (rubrika Galerie), A2 kulturn\u00ed t\u00fdden\u00edk, 51\/ 2006, ","reviews":"","texts_unlisted":"","annotations":[{"text":"Jakub Ho\u0161ek and his sister Ane\u017eka have been active for a long time as initiators of music and art activities on the Prague and Brno art scenes. In 2002 they put together the project, Indie Twins, for which they acted both as curators and DJs. Their work is also closely associated with the space A M 180, which combines the idea of a classic shop with alternative music and related instruments together with a gallery and a film club. Jakub Ho\u0161ek is a graduate of the Vladim\u00edr Skrepl School of Painting at the Prague Academy of Arts. His paintings and applied graphic designs complement his lifestyle. One could say that his designs have the same fragile, and at the same time, sophisticated unsettled air as he, the artist himself, does. Ho\u0161ek\u2019s style is tied to the world of music posters, comic strips, record jackets (and their graphic design) as well as fashion. He integrates the texts of his favourite songs into his works (this is how his 2002 series \u201eChansons\u201c and also his exhaustive thesis work entitled It Takes a Million Years To Become Diamonds so Let\u2019s Just Burn Like Coal Until the Sky\u2019s Black came about). Or sometimes he reduces his paintings to individually-stylised textual expressions (New Truth). In other moments he combines the surreal details and observations of abstraction. While his older paintings and exhibits (for example, Casino, displayed in the NoD Gallery in 2001) drew upon the influence of the wild chaos in street-art, i.e. in the style of Jean-Michel Basquiat, today he combines seemingly expressive \u201ecalligraphy\u201c with perfectly cold \u201edesign\u201c technologies. He creates his images by covering the canvas with the help of complicated stencils. In recent times he has emphasised the material, objectual essence of his paintings by separating them on to several canvases or by portraying them with a third dimension. These paintings therefore often grow into murals or painted \u201eboards\u201c(Jam Band Death Cult).\r\nZuzana \u0160tefkov\u00e1\r\n\r\nJakub Ho\u0161ek and his Knife Play\r\nThe influence of subculture often identified in connection with Jakub Ho\u0161ek\u00b4s work should not be sought in his choice of subject matter or means of expression but in the subversive way he uses them. Above all, Ho\u0161ek has a peculiar technique that undermines traditional painterly methods. If painting is usually characterised by the unique communication of individual expression guaranteed by the immediate touch, then by his impersonalised use of cut-out stencils, Jakub Ho\u0161ek deliberately gives this notion up. This is why his paintings can often be manufactured with the help of friends and assistants, and this is also why their author is open to joint realisations, their collective authorship fully declared. Using stencils over which individual planes of acrylic colours are gradually applied, Jakub Ho\u0161ek achieves contours that are, in their hardness, completely unpainterly and very typical for his drawings. At the same time, this serves well to emphasise the consistently non-illusionistic quality of his pictures. The vacant, almost without exception monochromatically executed backgrounds, and the overall planarity do not allow the spectator\u00b4s gaze to penetrate into the virtual space beyond the painting. The pictures of Jakub Ho\u0161ek do not refer to any other world but their own. Despite their quite unpainterly character, they paradoxically refer precisely to painting per se as to their most natural phenomenon.\r\nThis is evident in his two early paintings, Knife Play I and II (2001). The knives, depicted in two dimensions, indirectly refer to stencil cutting as their assumed source. Frequent representations of dismembered limbs and blood, as well as direct depiction of the cutter with replaceable blade on one of the author\u00b4s later paintings, underline the cutting theme. Depiction of an incision that violently reveals the internal nature of an object also appears in the Chansons cycle (2002) where Jakub Ho\u0161ek, for the first time in a more distinctive manner, exploited lettering as an autonomous constituent of pictorial construction. The lettering is still executed in a planary way and is freely distributed in the top or the bottom part of the plane without coming into contact with the actual subject matter of the paintings, which are inspired by themes from book illustration to the world of comics. \r\nThe choice of dispassionate quotations from the lyrics of French songs serves to increase the calligraphic impact of the textual parts of the paintings. Jakub Ho\u0161ek arrived at his typical sharply defined typeface in his monumental picture entitled It Takes a Million Years to Become Diamonds so Let\u2019s Just Burn Like Coal Until the Sky\u2019s Black (2004). The inscription not only penetrates the cloud in the top part of the painting but it also appears in the bottom part and covers one of the spatial elements of the left panel as well. On a theatrically conceived background, under the stage decoration of the clouds, a conglomerate of biomorphic forms stand out. The unbroken colour surfaces are intersected with spatial fragments depicted with the utmost attention to detail. Dominant among these are schematised birch tree trunks that connect the top with the bottom part of the pictorial surface, and similarly represented bones that stick out of mutilated and extremely abstracted figures.\r\nResidual bodies also appear in a series of paintings from the period between \r\n2005-2006, and together with architectonic fragments and calligraphic inscriptions they constitute the main elements of Ho\u0161ek\u00b4s works of art. In addition, his motifs of dismembered limbs and building ruins mutually imply each other because both cases thematise a loss of organic unity substituted for by the autonomy of the individual elements.\r\nIn the same way the buildings disintegrate, the schizophrenic bodies decompose into their separate organs. Their only life function is to produce blood that continually spurts from them. The arm of an animal in the top plane of the The Sky\u2019s the Ground, the Bombs are Plants, and We\u2019re the Sun, Love painting (2005) tears the canvas of the picture but is itself hung quite mechanically on strings wound around an elbow bone that had been gnawed at. The fragmentation is further highlighted by the division of the composition into two independent panels that separate the arm from the hand, with its severed falling fingers. Together with the spasmodic scabrous sprouts in the bottom part of the painting, the animal arm creates a mechanical conglomerate of autonomous organs that are, in their futile desire to regain their lost unity, both feeding as well as destroying each other. The same can be said about the excerpts from literature and song lyrics the artist has used. Their fragmentary nature prevents the identification of the source of the quotations, and in now way simplifies the reading of the paintings because the texts used tend to broaden the spectrum of its meanings rather than narrow it down. The irreducible multitude of these excerpts is the same as the multitude of the detached organs that do not compose any organic body. In the most recent works of Jakub Ho\u0161ek the marginally ornamented texts claim autonomy, leave the pictorial surface, and so condemn themselves to fleeting existence on the walls of the gallery. The pictures themselves crouch down in the installation, pushed aside towards the door or the corners of the gallery space, propped against the wall or lying abandoned on the floor. Even though their origin lies within the traditions of painting, these works are no longer a representation of the world in a state of disintegration so much as its most distinctive natural embodiment.\r\nKarel C\u00edsa\u0159","date":0,"authors":[0]},{"text":"

Jsou dva zp\u016fsoby, jimi\u017e lze interpretovat tvorbu Jakuba Ho\u0161ka skrze subkultury, o kter\u00fdch se v kontextu jeho tvorby nej\u010dast\u011bji mluv\u00ed. Interakce s nimi je toti\u017e dvousm\u011brn\u00e1:<\/p>\r\n

 <\/span>V prvn\u00edm ohledu Ho\u0161kovu tvorbu po form\u00e1ln\u00ed a obsahov\u00e9 str\u00e1nce ovlivnily vizu\u00e1ln\u00ed znaky subkultury. Autor byl zpo\u010d\u00e1tku siln\u011b inspirov\u00e1n grafick\u00fdm designem vinyl\u016f, skejtov\u00fdch desek a celkovou estetikou subkultur, jako je skateboarding, punk nebo graffiti, poj\u00edc\u00edch se s liber\u00e1ln\u00edm my\u0161len\u00edm a s hodnotami pospolitosti a komunitnosti. A\u010d jsou tyto subkultury sp\u00ed\u0161e apolitick\u00e9, jejich d\u016fraz na osobn\u00ed svobodu a sebevyj\u00e1d\u0159en\u00ed spolu s jistou esenc\u00ed mladick\u00e9 divokosti m\u016f\u017eeme vn\u00edmat jako anga\u017eovan\u00fd postoj proti konzervativn\u00edmu sm\u00fd\u0161len\u00ed. St\u011b\u017eejn\u00ed roli zde hraje hudba, skrze ni\u017e definuj\u00ed samy sebe. Pro Ho\u0161ka ov\u0161em nen\u00ed d\u016fle\u017eit\u00e9 identifikovat se v uzav\u0159en\u00fdch r\u00e1mc\u00edch. Proplouv\u00e1 p\u0159irozen\u011b \u00e9tosy jednotliv\u00fdch subkultur, aby vytvo\u0159il autonomn\u00ed um\u011bleck\u00e9 vyj\u00e1d\u0159en\u00ed funguj\u00edc\u00ed v institucion\u00e1ln\u00edm provozu, a nez\u0159\u00edk\u00e1 se p\u0159itom p\u016fvodn\u00edch \u201epouli\u010dn\u00edch\u201c a DIY hodnot. Tato dynamika a mezioborovost se p\u0159irozen\u011b projevuje v \u0161irok\u00e9m rozp\u011bt\u00ed jeho aktivit. Ho\u0161ek je um\u011blcem, kulturn\u00edm aktivistou a DJem, ale tak\u00e9 organiz\u00e1torem v\u00fdstav, koncert\u016f a hudebn\u00edho festivalu.<\/p>\r\n

Na druh\u00e9 stran\u011b tu je zp\u016fsob, jak\u00fdm Ho\u0161ek subkultury s\u00e1m zp\u011btn\u011b ovliv\u0148uje. Po\u0159\u00e1d\u00e1n\u00ed festivalu Creepy Teepee a jeho principy a aspekty jako je multi\u017e\u00e1nrovost, specifick\u00fd vizu\u00e1ln\u00ed styl a v posledn\u00edch letech i p\u0159\u00edklon pomoc\u00ed jeho prost\u0159edk\u016f manifestovat anga\u017eovan\u00e1 t\u00e9mata, m\u00e1 p\u0159\u00edm\u00fd vliv na my\u0161len\u00ed a tvorbu nejmlad\u0161\u00ed generace um\u011blc\u016f. Pokud budeme pracovat s tvrzen\u00edm, \u017ee i sou\u010dasn\u00e1 nejmlad\u0161\u00ed v\u00fdtvarn\u00e1 um\u011bleck\u00e1 sc\u00e9na je subkulturou, Jakub Ho\u0161ek je ur\u010dit\u011b jedn\u00edm z jej\u00edch vzor\u016f. V praxi se ale nejedn\u00e1 pouze o ovlivn\u011bn\u00ed form\u00e1ln\u00edmi znaky jeho tvorby, ale tak\u00e9 o p\u0159ej\u00edm\u00e1n\u00ed koncept\u016f spojen\u00fdch s interdisciplinaritou, s principy DIY a s napl\u0148ov\u00e1n\u00edm \u017eivotn\u00edho stylu kulturn\u00edho aktivisty-nom\u00e1da.<\/p>\r\n

 <\/p>\r\n

Co se t\u00fd\u010de form\u00e1ln\u00edho jazyka jeho maleb, Ho\u0161ek si dr\u017e\u00ed sv\u016fj rozeznateln\u00fd a autentick\u00fd styl zalo\u017een\u00fd na pou\u017e\u00edv\u00e1n\u00ed \u0161ablon, jeho d\u00edla v\u0161ak pro\u0161la ur\u010dit\u00fdmi zm\u011bnami. Pro\u0159\u00eddlo zobrazen\u00ed explicitn\u00edch motiv\u016f n\u00e1sil\u00ed (jako u\u0159ezan\u00e9 ruce a no\u017ee) a Ho\u0161ek se p\u0159iklonil k n\u00e1znakov\u011bj\u0161\u00ed podob\u011b sublimace temnoty a k abstrahovan\u011bj\u0161\u00edm motiv\u016fm. Ostrost hrot\u016f no\u017ee vyst\u0159\u00eddala ostrost abstraktn\u00edch znak\u016f odkazuj\u00edc\u00edch k form\u00e1m metalov\u00fdch logotyp\u016f, kter\u00e9 p\u00edsmena \u010dasto p\u0159etv\u00e1\u0159ej\u00ed do propleten\u00fdch, ostr\u00fdch a trnit\u00fdch shluk\u016f ko\u0159en\u016f nebo v\u011btvi\u010dek. Tyto fragmenty pou\u017e\u00edvan\u00e9 v aktu\u00e1ln\u00ed tvorb\u011b maj\u00ed velice \u010dasto podobu chaotick\u00fdch linek t\u011bkaj\u00edc\u00edch v jak\u00e9si k\u0159e\u010di. V Biography<\/i> (2015) se spletence hrot\u016f st\u00e1vaj\u00ed jedin\u00fdm motivem zneji\u0161\u0165uj\u00edc\u00edm n\u00e1s svou formou na pomez\u00ed p\u00edsma a nahodil\u00e9ho \u010dm\u00e1r\u00e1n\u00ed. <\/p>\r\n

 <\/p>\r\n

Dal\u0161\u00ed zm\u011bnou v Ho\u0161kov\u011b tvorb\u011b je posun od k\u0159iklav\u00e9 barevnosti k temn\u011bj\u0161\u00ed a chladn\u011bj\u0161\u00ed palet\u011b. Obrazy jsou tak\u00e9 minimalisti\u010dt\u011bj\u0161\u00ed, autor u\u017e nepokr\u00fdv\u00e1 celou obrazovou plochu, ale klade m\u00e9n\u011b motiv\u016f do abstrahovan\u011bj\u0161\u00edho a plo\u0161\u0161\u00edho pozad\u00ed. Nov\u00e9 s\u00e9rie jeho maleb p\u016fsob\u00ed vyprahlej\u0161\u00edm a skepti\u010dt\u011bj\u0161\u00edm dojmem, antropomorfn\u00ed temnotu st\u0159\u00edd\u00e1 m\u00e9n\u011b konkr\u00e9tn\u00ed p\u0159edtucha zlovoln\u00e9ho, \u00fazkostn\u00e9 \u010dek\u00e1n\u00ed na p\u0159\u00edchod ne\u0161t\u011bst\u00ed. Takov\u00e9 dojmy vyvol\u00e1v\u00e1 nap\u0159\u00edklad Earth Died Screaming<\/i> (2016), kde zombie ruka \u0161kr\u00e1be \u0161ed\u00fd abstraktn\u00ed povrch na pozad\u00ed dr\u00e1t\u011bn\u00e9ho plotu. Sou\u010dasn\u00e9 t\u00e9ma environment\u00e1ln\u00ed krize v antropoc\u00e9nu a mo\u017en\u00e9 apokalypsy je zde artikulov\u00e1no komiksov\u00fdm stylem, jen\u017e v\u0161ak promlouv\u00e1 apelem sk\u0159\u00edp\u011bj\u00edc\u00edho zvuku \u0161pinav\u00fdch zombie neht\u016f p\u0159ej\u00ed\u017ed\u011bj\u00edc\u00edch po tabuli.<\/p>\r\n

 <\/p>\r\n

Ho\u0161ek u\u017e d\u0159\u00edve pracoval s prostorovou dimenz\u00ed obraz\u016f a vytv\u00e1\u0159el je s tlust\u00fdmi r\u00e1my, kter\u00e9 dovolovaly mal\u00ed\u0159sky pojednat i bok obrazu. S prostorem pracuje i nad\u00e1le a vytv\u00e1\u0159\u00ed objektov\u00e1 d\u00edla, kter\u00e1 v\u0161ak nad\u00e1le zhodnocuj\u00ed mal\u00ed\u0159sk\u00e9 gesto. To bylo mo\u017en\u00e9 vid\u011bt nap\u0159\u00edklad na autorov\u011b spole\u010dn\u00e9 v\u00fdstav\u011b s Ane\u017ekou Ho\u0161kovou a Nik Timkovou nazvan\u00e9 Superimpostitions<\/i> (2015), v r\u00e1mci n\u00ed\u017e byl v barokn\u00edm s\u00e1le Colloredo-Mansfeldsk\u00e9ho pal\u00e1ce nainstalov\u00e1n soubor minimalistick\u00fdch objekt\u016f odkazuj\u00edc\u00edch ke skejtov\u00fdm p\u0159ek\u00e1\u017ek\u00e1m, n\u00e1hrobk\u016fm a n\u00e1bytku. Jejich temn\u011b fialov\u00e1 barevnost vytv\u00e1\u0159ela v\u00fdrazn\u00fd protiklad k zlatav\u00e9 v\u00fdzdob\u011b s\u00e1lu a tuto v\u00fdstavu lze tedy vn\u00edmat i jako site-specifickou reakci na dan\u00fd environment. Na pomez\u00ed malby a objektu potom funguje nap\u0159\u00edklad i d\u00edlo emo_oce <\/i>(2015), kter\u00e9 pojedn\u00e1v\u00e1 pro autora p\u0159\u00edzna\u010dn\u00fd motiv ruky bez t\u011bla. V t\u00e9to pr\u00e1ci si lze nejv\u00edce pov\u0161imnout odkazu na trend postinternetov\u00e9 estetiky, je\u017e r\u00e1da spojuje odkazy na virtu\u00e1ln\u00ed a komer\u010dn\u00ed prost\u0159ed\u00ed s objektovou tvorbou a DIY estetikou. To se projevuje motivy ikonek z po\u010d\u00edta\u010dov\u00e9ho interfacu a neexistuj\u00edc\u00edmi logotypy, kter\u00e9 jsou namalovan\u00e9 na d\u0159ev\u011bn\u00e9m povrchu zlomen\u00e9 a ploch\u00e9 ruky.<\/p>\r\n

Opomenout v\u0161ak nesm\u00edme ani Ho\u0161kovu kur\u00e1torskou a organiz\u00e1torskou \u010dinnost v r\u00e1mci provozu galerie A.M.180, kterou vede spole\u010dn\u011b s Nik Timkovou. Kur\u00e1torsk\u00e1 dramaturgie \u201e\u00e1emka\u201c spo\u010d\u00edv\u00e1 v mapov\u00e1n\u00ed a prezentaci vizu\u00e1ln\u00edch trend\u016f spojuj\u00edc\u00edch voln\u00e9 um\u011bn\u00ed s grafick\u00fdm a m\u00f3dn\u00edm designem. Dev\u00edzou programu jsou mezin\u00e1rodn\u00ed kontakty kolektivu a schopnost p\u0159iv\u00e1\u017eet rezonuj\u00edc\u00ed momenty progresivn\u00ed um\u011bleck\u00e9 sc\u00e9ny na principech spolupr\u00e1ce a bez velk\u00fdch prost\u0159edk\u016f. A.M.180 se tak st\u00e1v\u00e1 d\u016fle\u017eit\u00fdm bodem v mezin\u00e1rodn\u00ed um\u011bleck\u00e9 s\u00edti, kter\u00e1 funguje mimo institucion\u00e1ln\u00ed r\u00e1mec.<\/p>","date":2018,"authors":[1887]},{"text":"Jakub Ho\u0161ek a jeho sestra Ane\u017eka u\u017e del\u0161\u00ed dobu p\u016fsob\u00ed jako inici\u00e1to\u0159i hudebn\u00edch a v\u00fdtvarn\u00fdch aktivit na pra\u017esk\u00e9 a brn\u011bnsk\u00e9 um\u011bleck\u00e9 sc\u00e9n\u011b. V roce 2002 dali dohromady projekt Indie Twins, v r\u00e1mci kter\u00e9ho funguj\u00ed jako kur\u00e1to\u0159i a DJs. S t\u00edmto jejich p\u016fsoben\u00edm souvis\u00ed tak\u00e9 prostor A.M 180, kombinuj\u00edc\u00ed funkci obchodu s alternativn\u00ed hudbou a p\u0159\u00edslu\u0161enstv\u00edm s galeri\u00ed a filmov\u00fdm klubem.\r\nJakub Ho\u0161ek absolvoval mal\u00ed\u0159skou \u0161kolu Vladim\u00edra Skrepla na AVU v Praze. Jeho malba i u\u017eit\u00e1 grafika se dopl\u0148uje s \u017eivotn\u00edm stylem. Dalo by se \u0159\u00edci, \u017ee p\u016fsob\u00ed stejn\u011b k\u0159ehk\u00fdm a z\u00e1rove\u0148 sofistikovan\u011b vy\u0161inut\u00fdm zp\u016fsobem jako jeho image. Ho\u0161k\u016fv styl je spojen\u00fd s kulturou hudebn\u00edch plak\u00e1t\u016f, komiks\u016f, obal\u016f alb a grafick\u00e9ho designu i stylu obl\u00e9k\u00e1n\u00ed. Do obraz\u016f vkl\u00e1d\u00e1 texty obl\u00edben\u00fdch skladeb (takto vznikla v roce 2002 s\u00e9rie \u0161anson\u016f, i jeho rozm\u011brn\u00e1 diplomov\u00e1 pr\u00e1ce nazvan\u00e1 It Takes a Million Years To Become Diamonds so Let\u00b4s Just Burn Like Coal Until the Sky\u00b4s Black) nebo malby redukuje na samotn\u00fd stylizovan\u011b pojat\u00fd text (New truth). Jindy kombinuje surre\u00e1ln\u011b p\u016fsob\u00edc\u00ed detaily a n\u00e1znaky abstrakce. Zat\u00edmco jeho star\u0161\u00ed malby a instalace (jako nap\u0159\u00edklad Casino vystaven\u00e9 v galerii NoD v roce 2001) odr\u00e1\u017eely vliv divok\u00e9ho street-artov\u00e9ho chaosu ve stylu Jeana-Michela Basquiata, dnes kombinuje zd\u00e1nliv\u011b expresivn\u00ed \u201ekaligrafii\u201c s dokonale chladnou \u201edesign\u00e9rskou\u201c technikou. Obrazy vytv\u00e1\u0159\u00ed vykr\u00fdv\u00e1n\u00edm ploch pomoc\u00ed komplikovan\u00fdch \u0161ablon. V posledn\u00ed dob\u011b tak\u00e9 zd\u016fraz\u0148uje materi\u00e1ln\u00ed objektovou podstatu obrazu jeho d\u011blen\u00edm na v\u00edce pl\u00e1ten, nebo nadsazen\u00edm t\u0159et\u00edho rozm\u011bru. Tyto obrazy pak \u010dasto p\u0159er\u016fstaj\u00ed v n\u00e1st\u011bnn\u00e9 objekty \u010di malovan\u00e9 \u201esokly\u201c (Jam Band Death Cult).","date":"","authors":[1827]}],"artworks":[108543,108544,108545,108546,108547,108548,108549,108550,108551,108552,108553,108555,108576,108577,108578,108580,108581,108582,108583,108584,108585,108586,108597,108598,108599,108600,108601,108602,108603,108604,108605,108606,118457,118458,118459,118460,118461,118462,118463,118464,118465,118466],"videos":[2874]},"yoast_head":"\nHo\u0161ek - Artlist<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/artlist.cz\/en\/umelci\/jakub-hosek\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Ho\u0161ek - Artlist\" \/>\n<meta property=\"og:url\" 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