{"id":121727,"date":"2024-07-10T23:04:56","date_gmt":"2024-07-10T21:04:56","guid":{"rendered":"http:devel.artlist.cz\/artist\/fibichova-2\/"},"modified":"2025-01-07T18:14:02","modified_gmt":"2025-01-07T17:14:02","slug":"zdena-fibichova","status":"publish","type":"artist","link":"https:\/\/artlist.cz\/en\/umelci\/zdena-fibichova\/","title":{"rendered":"Fibichov\u00e1"},"featured_media":0,"template":"","class_list":["post-121727","artist","type-artist","status-publish","hentry","keyword-kresba","keyword-objekt","keyword-sculpture","keyword-socha"],"acf":{"nicknames":"","date_born":1933,"date_death":1991,"place_born":"Praha","lives":"","web":"","idatum":"","address":"","email":"","phone":"","biography":"Studies:\r\n1952-1957 Academy of applied arts, architecture and design, Prague, studio of sculpture of Josef Wagner\r\nVy\u0161\u0161\u00ed \u0161kola bytov\u00e9ho pr\u016fmyslu (V\u00e1clav Markup)\r\n\r\nStipends:\r\n1965 Vence, France","groups":[121166],"membership":"","exhibitions_solo":"2013\r\nZdena Fibichov\u00e1 - Vzkazy, Museum Kampa, Praha\r\n\r\n1986\r\nZdena Fibichov\u00e1, plastika, kresby, keramika, D\u016fm um\u011bn\u00ed, Bludn\u00fd k\u00e1men Opava, Opava","exhibitions_group":"2017\r\nP\u0159\u00edli\u0161 mnoho zub\u016f, Museum Kampa, Praha\r\n2016\r\nUhlem, \u0161t\u011btcem, skalpelem\u2026, Muzeum um\u011bn\u00ed Olomouc, Olomouc\r\n2015\r\nSchr\u00e1nka pro ducha, Galerie modern\u00edho um\u011bn\u00ed v Roudnici nad Labem, Roudnice nad Labem\r\n2014\r\nStav mysli\/Za obrazem, Galerie St\u0159edo\u010desk\u00e9ho kraje, Kutn\u00e1 Hora\r\n2009\r\nSocha a m\u011bsto Liberec 1969, Oblastn\u00ed galerie v Liberci, Liberec\r\n2008\r\n\u010cesk\u00e9 a slovensk\u00e9 um\u011bn\u00ed 60. let 20. stolet\u00ed, D\u016fm um\u011bn\u00ed, Ostrava\r\nNa zkou\u0161ku v r\u00e1ji? Um\u011bn\u00ed \u0161edes\u00e1t\u00fdch let ze sb\u00edrek Z\u00e1pado\u010desk\u00e9 galerie v Plzni, Plze\u0148\r\n2005\r\nFolklorismus v \u010desk\u00e9m v\u00fdtvarn\u00e9m um\u011bn\u00ed XX. stolet\u00ed, Muzeum Jana Amose Komensk\u00e9ho, Uhersk\u00fd Brod\r\n2001\r\nJi\u0159\u00ed Kol\u00e1\u0159 sb\u011bratel, Veletr\u017en\u00ed pal\u00e1c, Praha\r\nBarevn\u00e1 socha, Severo\u010desk\u00e1 galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed v Litom\u011b\u0159ic\u00edch, Litom\u011b\u0159ice\r\n2000\r\nUm\u011bn\u00ed zrychlen\u00e9ho \u010dasu. \u010cesk\u00e1 v\u00fdtvarn\u00e1 sc\u00e9na 1958\u20131968, Galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed v Chebu, Cheb\r\n1997\r\nUm\u011bn\u00ed zastaven\u00e9ho \u010dasu: \u010cesk\u00e1 v\u00fdtvarn\u00e1 sc\u00e9na 1969\u20131985, Galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed v Chebu, Cheb\r\nMezi tradic\u00ed a experimentem. Pr\u00e1ce na pap\u00ed\u0159e a s pap\u00edrem v \u010desk\u00e9m v\u00fdtvarn\u00e9m um\u011bn\u00ed 1939\u20131989, Muzeum um\u011bn\u00ed Olomouc, Olomouc\r\n1994\r\nOhniska znovuzrozen\u00ed, M\u011bstsk\u00e1 knihovna Praha, Praha\r\n1993\r\nSocha hl\u00edna, St\u0159edo\u010desk\u00e1 galerie, Praha\r\n1992\r\nContemporary East European Ceramisc, The Clay Studio, Philadelphia\r\n\u0160ed\u00e1 cihla 78\/1991, D\u016fm um\u011bn\u00ed v Opav\u011b, Opava\r\nTschechische Keramik, Deutsches Keramikmuseum, D\u00fcsseldorf\r\nEurop\u00e4ische Dialoge 1991, Museum Bochum, Bochum\r\nKeramika 91, M\u00e1nes, Praha\r\n1990\r\nPrag \u2013 Linz, Hipp Halle, Gmunden \u2013 Theresienthal\r\nV\u00fdtvarn\u00e9 tendence, St\u0159edo\u010desk\u00e1 galerie, Praha\r\nNeue Bl\u00e4tter aus der \u010cSSR, Kupferstichkabinett, Dr\u00e1\u017e\u010fany\r\n1989\r\n\u010cesk\u00e9 socha\u0159stv\u00ed 1948 \u2013 1988, Krajsk\u00e9 vlastiv\u011bdn\u00e9 muzeum, Olomouc\r\n1985\r\nBarevn\u00e1 socha, Galerie H, Kostelec nad \u010cern\u00fdmi lesy\r\n1976\r\nPodoba \u010dlov\u011bka v keramice, Moravsk\u00e1 galerie v Brn\u011b, Brno\r\n1971\r\nMostra della Grafica Cecoslovacca Contemporanea, Musei Civici del Castello Visconteo, Pavia\r\n1969\r\nTrasa 1969, M\u00e1nes, Praha\r\nSocha a m\u011bsto, Oblastn\u00ed galerie v Liberci, Liberec\r\n1968\r\n\u010cesk\u00e9 socha\u0159stv\u00ed 19. a 20. stolet\u00ed, Letohr\u00e1dek kr\u00e1lovny Anny, Praha\r\n1968\r\nSocha pie\u0161\u0165ansk\u00fdch parkov \u201968, K\u00fapelov\u00fd ostrov, Pie\u0161\u0165any\r\n1967\r\nSocha a kresba, M\u00e1nes, Praha\r\n1966\r\nJarn\u00ed v\u00fdstava 1966, M\u00e1nes, Praha\r\n1965\r\nSocha\u0159sk\u00e9 bilance 1955 \u2013 1965, Olomouc\r\n1964\r\nSocha 1964, Liberec\r\nTrasa, Galerie V\u00e1clava \u0160p\u00e1ly, Praha\r\n1963\r\nRychnov 1963, Z\u00e1mek Rychnov nad Kn\u011b\u017enou, Rychnov nad Kn\u011b\u017enou\r\n1961\r\nTv\u016fr\u010d\u00ed skupina Trasa, Galerie \u010ceskoslovensk\u00fd spisovatel, Praha\r\n1959\r\nTrasa 54, Galerie Fronta, Praha\r\n1958\r\nUm\u011bn\u00ed mlad\u00fdch v\u00fdtvarn\u00edk\u016f \u010ceskoslovenska 1958. Obrazy a plastiky, J\u00edzd\u00e1rna Pra\u017esk\u00e9ho hradu, Praha","realizations_other":"","collections":"Al\u0161ova jiho\u010desk\u00e1 galerie v Hlubok\u00e9 nad Vltavou<\/span> Galerie Benedikta Rejta<\/span> Galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed v Roudnici nad Labem<\/span> Galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed v Olomouci<\/span> Mezin\u00e1rodn\u00ed muzeum keramiky<\/span> Moravsk\u00e1 galerie v Brn\u011b<\/span> N\u00e1rodn\u00ed galerie v Praze<\/span> Oblastn\u00ed galerie v Liberci<\/span> Orlick\u00e1 galerie v Rychnov\u011b nad Kn\u011b\u017enou<\/span> Severo\u010desk\u00e1 galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed v Litom\u011b\u0159ic\u00edch<\/span> St\u0159edo\u010desk\u00e1 galerie<\/span> Um\u011bleckopr\u016fmyslov\u00e9 muzeum v Praze<\/span>","monographies":"PACHMANOV\u00c1 M.: Zdena Fibichov\u00e1 (1933\u20131991), katalog v\u00fdstavy, Museum Kampa, Praha 2013 PETROV\u00c1 E.: Zdena Fibichov\u00e1: Plastiky a kresby, katalog v\u00fdstavy, Galerie Fronta, Praha 1990 \u0160EV\u010c\u00cdKOV\u00c1 J.\/\u0160EV\u010c\u00cdK J.: Zdena Fibichov\u00e1: Obydl\u00ed, katalog v\u00fdstav, V\u00fdstavn\u00ed s\u00ed\u0148 semafor, Praha 1987 PETROV\u00c1 E.: Zdena Fibichov\u00e1: Socha\u0159sk\u00e9 pr\u00e1ce z let 1966\u20131970, katalog v\u00fdstavy, Pra\u017e\u00e1k\u016fv pal\u00e1c, Brno 1970 PETROV\u00c1 E.: Zdena Fibichov\u00e1: Kresby, sochy, katalog v\u00fdstavy, M\u011bstsk\u00e9 muzeum a galerie, Ho\u0159ice 1968 \u0160ETL\u00cdK J.: Socha\u0159sk\u00e9 bilance 1955\u20131965, katalog v\u00fdstavy, D\u016fm um\u011bn\u00ed, Olomouc 1965 VACHTOV\u00c1 L.: Socha 1964, katalog v\u00fdstavy, Oblastn\u00ed galerie, Liberec 1964","articles":"Mezi snem a realitou - sochy z hl\u00edny Zdeny Fibichov\u00e9, Milan Hlave\u0161 - Sklo, doba, lid\u00e9 - vyd\u00e1n\u00ed 23\/2002\r\nhttp:\/\/www.glassrevue.com\/news.asp@nid=1209.html","reviews":"","texts_unlisted":"","annotations":[{"text":"Zdena Fibichov\u00e1 belonged to a talented generation of sculptors that gathered in Czechoslovakia in the post-war years at the Academy of Arts, Architecture and Design in Prague, mainly in the studio of Josef Wagner. Fibichov\u00e1 was part of the second wave of students who began their studies at the start of the 1950s. Her classmates included Vladim\u00edr Precl\u00edk and Jan Hendrych. At that time, Czech art was seeking a link to pre-war modernism. A synthesis of these efforts was reflected in the work of the Trasa group, which Fibichov\u00e1 was a member of. However, unlike other sculptors, in her early works she did not look for prototypes in Czech cubism and the interwar avant-garde, but reached back further in time to ancient cultures and Mediterranean sculpture.\r\nIn her sculptures from the 1950s she is clearly searching for her own language, and like other artists she found this sometime around 1963. While R\u00e1no \/ Morning<\/i> (1958) reveals the influence of Josef Wagner, two years younger, the smoothly modelled Modelka \u00fa Model<\/i> (1960) and Sed\u00edc\u00ed \/ Sitting<\/i> (1961) now draw on a knowledge of post-war Italian sculpture, above all that of Marino Marini. Figuration was the starting point for all artists thanks to the relaxation of political pressure and the possibility of exhibiting during the 1960s. Most sculptors of this period underwent almost the same artistic development. In Fibichov\u00e1\u2019s this was the most productive and innovative period in her career. She tried out new possibilities in terms of both material and form. The goal was to reduce form to its elementary basics. The lyrical statuettes of women or couples gradually disappeared. To begin with the face was lost and only the shape of the head and chest remained, as in the case of the lyrically conceived Sed\u00edc\u00ed<\/i> \/ Sitting<\/i>. Later on still only the figure remains, without bodily features, as in several of the statuettes from the series of suspended Mikroplastik \/ Micro-Statues<\/i> (1961\u20131962), in which the body is almost completed erased in such a way as to encourage maximum abstraction and stylisation.  \r\nMicro-Statues<\/i> is pivotal in Fibichov\u00e1\u2019s oeuvre in that it allowed her to break free from the figural theme, which she had been treating with more and more of a free hand. Since the statuettes in this series were modelled in plasticine, which allowed for an intuitive approach to shape, Fibichov\u00e1 arrived at a conception of sculpture as the direct expression of an idea, her own feelings and psychological states, and her work became more and more personal. Though we find similarities with the work of Eva Kmentov\u00e1 or V\u011bra Janou\u0161kov\u00e1, Fibichov\u00e1\u2019s sculptures are emotionally enclosed within themselves. It is this emotional introversion that made Fibichov\u00e1 a solitary figure on the art scene, even though during the 1960s she participated in several important sculpture exhibitions.\r\nFrom 1963\u20131965 Fibichov\u00e1 most often turned to natural motifs (Lomik\u00e1men<\/i>, \u010cernob\u00fdl<\/i>) and at the same time moved from ephemeral plaster in favour of easily modelled tin. The surface of the sculptures from this period is, in accordance with the informel aesthetic, disrupted by scratches and notches, as we see in K\u0159\u00eddlo \/ Wing<\/i> (1965). A turning point was Fibichov\u00e1\u2019s residency in France in 1965, where she began working with ceramic clay. This gave rise to the cycles Den\u00edky \/ Diaries<\/i> and St\u00e9ly \/ Stele<\/i>, which gave rise to the massive concrete and cement steles [a stele is a stone or wooden slab erected in the ancient world as a monument] of the latter half of the 1960s. St\u00e9ly<\/i> (1966\u20131968) are not smooth geometric shapes in the style of Zden\u011bk Palcr, but have their own life, with shots or buds piercing the hard material as though from within in an endeavour to burst open the work into space.\r\nFibichov\u00e1 enjoyed her greatest successes in the latter half of the 1960s. She had a number of solo exhibitions and worked on commissions for public spaces (in Horn\u00ed Liboc and Zahradn\u00ed m\u011bsto). In 1968 she was hit hard by the occupation and retired more and more into herself. She almost stopped creating. The following year she fell seriously ill and had to adapt her work, to which she slowly returned, to these new conditions. This meant moving away from the monumental steles to more intimate sculptures made mainly of plaster and clay. In the cycle Dopisy \/ Letters<\/i> she attempted to work with relief, and returned to this in the series Vzkazy \/ Messages<\/i> (1969), Z rodinn\u00e9ho alba<\/i> \/ From a Family Album<\/i> (1971) and in a series on the subject of housework (1970). She continued working in all of these cycles with clay in an unorthodox matter, perforating it, cutting it like paper and stitching it as though it were a fabric.  \r\nJust as the period of normalisation began in Czechoslovakia, Fibichov\u00e1 moved out of Prague and her seclusion intensified. During the 1970s she began to used everyday items in her works (light bulbs, string, cans, etc.) that she transformed without change into sculptural objects (Pytl\u00edky \/ Bags)<\/i> 1978\u20131979). V\u011bra Janou\u0161kov\u00e1 had already done something similar in Pe\u0159ina<\/i> \/ Duvet<\/i> (1966). However, while the origin of Janou\u0161kov\u00e1\u2019s work can only be derived from its name, Fibichov\u00e1\u2019s bags remained what they were to begin with. During the 1980s  she continued to develop the principles contained in her early works, and introduced into her ceramics an element of pressing, i.e. forcing the clay through a meat grinder, and wiring, which she used to wrap around the elementary stereo-metric shapes as in Posledn\u00ed kostka \/ The Last Cube<\/i> (1985).\r\n\r\n","date":2018,"authors":[1902]}],"artworks":[114731,114732,114733,118433,118434,118435,118436,118437,118438,118439,118440,118441,118442,118443,118444,118445,118446],"videos":null},"yoast_head":"\nFibichov\u00e1 - 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\/zdena-fibichova\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Fibichov\u00e1 - Artlist\" \/>\n<meta property=\"og:url\" content=\"https:\/\/artlist.cz\/en\/umelci\/zdena-fibichova\/\" \/>\n<meta property=\"og:site_name\" content=\"Artlist\" \/>\n<meta property=\"article:modified_time\" content=\"2025-01-07T17:14:02+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/artlist.cz\\\/en\\\/umelci\\\/zdena-fibichova\\\/\",\"url\":\"https:\\\/\\\/artlist.cz\\\/en\\\/umelci\\\/zdena-fibichova\\\/\",\"name\":\"Fibichov\u00e1 - 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