{"id":121751,"date":"2024-07-10T23:04:59","date_gmt":"2024-07-10T21:04:59","guid":{"rendered":"http:devel.artlist.cz\/artist\/pastrnak-2\/"},"modified":"2025-01-07T18:14:01","modified_gmt":"2025-01-07T17:14:01","slug":"petr-pastrnak","status":"publish","type":"artist","link":"https:\/\/artlist.cz\/en\/umelci\/petr-pastrnak\/","title":{"rendered":"Pastr\u0148\u00e1k"},"featured_media":0,"template":"","class_list":["post-121751","artist","type-artist","status-publish","hentry","keyword-malba","keyword-object","keyword-objekt"],"acf":{"nicknames":"","date_born":1962,"date_death":0,"place_born":"Fr\u00fddek-M\u00edstek","lives":"Prague","web":"www.petrpastrnak.cz","idatum":"https:\/\/databaze.vvp.avu.cz\/en\/archivy\/archive-of-artists\/33","address":"Zubat\u00e9ho 2, 150 00 Praha 5","email":"petr.pastrnak@seznam.cz","phone":"777023173","biography":"","groups":null,"membership":"","exhibitions_solo":"2007\r\nOstrava Galerie Beseda, \u201eLesy a krajiny\u201c\r\nPraha VOXART, \u201eObrazy malovan\u00e9 v\u00e1le\u010dkem\u201c\r\nBlansko M\u011bstsk\u00e1 galerie, \u201eObrazy 1996\u20132006\u201c\r\nKutn\u00e1 Hora, Galerie Felixe Jeneweina, \u201eVe v\u011btru\u201c\r\nPraha, galerie 5. patro, spole\u010dn\u00e1 v\u00fdstava Ji\u0159\u00ed Kovanda, Tom\u00e1\u0161 C\u00edsa\u0159ovsk\u00fd, Petr Pastr\u0148\u00e1k\r\n\r\n2006\r\nGalerie \u010cesk\u00e9 poji\u0161\u0165ovny, Sp\u00e1len\u00e1 14, Praha\r\n\r\n2005\r\nGalerie Louvre Praha LESY\r\n\r\n2004\r\nWien, Galerie Chobot\r\nBrno, Galerie ARS\r\n\r\n2003\r\nBrno, Na Bid\u00fdlku\r\n\r\n2001\r\nPraha, Galerie Mal\u00e1 \u0160p\u00e1lovka\r\n\u0160ternberk, M\u011bstsk\u00e1 galerie\r\nPraha, MXM, spole\u010dn\u011b s J. \u0160pa\u0148helem\r\nPraha, Credite Anstalt, spole\u010dn\u011b s J. \u0160pa\u0148helem\r\n\r\n2000\r\nPraha, Galerie MXM\r\n\r\n1999\r\nOstrava, Galerie Cigi, spole\u010dn\u011b s J. \u0160pa\u0148helem\r\n\r\n1997\r\nOstrava, Galerie Sokolovsk\u00e1 26\r\nPraha, Galerie MXM\r\nOstrava, Galerie \u010cern\u00fd pavouk\r\n\r\n1996\r\nPraha, Galerie Velryba\r\n\r\n1993\r\nFr\u00fddek-M\u00edstek, Galerie Fiducia\r\n\r\n1992\t\r\nLinz, Rakousko, HIKG","exhibitions_group":"2006\r\nMali\u0159i 2006 galerie Louvre Praha\r\nWannieck gallery Brno\r\nSp\u0159\u00edzn\u011bn\u00ed \u2013 Alied, N\u00e1rodn\u00ed galerie, Praha\r\n\r\n2002\u20135\r\n\u0158ada spole\u010dn\u00fdch i samostatn\u00fdch v\u00fdstav v pobo\u010dk\u00e1ch Credite anstalt a HVB Bank Praha\r\n\r\n2005\r\nPraha, Veletr\u017en\u00ed pal\u00e1c, Bien\u00e1le sou\u010dasn\u00e9ho um\u011bn\u00ed\r\n\r\n2004\r\nKlatovy, Mal\u00ed\u0159i 03\r\nLouny, Galerie XXL\r\nPardubice, Mal\u00ed\u0159i 04\r\nBrno, Sympozium Veve\u0159\u00ed\r\nNeuen Nachbarn, Baden Rakousko\r\n\r\n2003\r\nPraha, Veletr\u017en\u00ed pal\u00e1c, Bien\u00e1le sou\u010dasn\u00e9ho um\u011bn\u00ed\r\n\r\n2002\r\nOstrava, Galerie Sokolovsk\u00e1, spole\u010dn\u011b s J. \u0160pa\u0148helem a J. Dokoupilem\r\n\r\n2001\r\nHradec Kr\u00e1lov\u00e9, Muzeum um\u011bn\u00ed, Alchymie barev\r\n\r\n2000\r\nKlenov\u00e1, Galerie Klenov\u00e1, Portr\u00e9t roku 2000\r\nVenezia, It\u00e1lie, Bien\u00e1le architektury\r\nBerl\u00edn, N\u011bmecko,\u00dcberlebensKunst\r\nPraha, Pal\u00e1c Kinsk\u00fdch NG, Konec sv\u011bta\r\nPraha, Veletr\u017en\u00ed pal\u00e1c NG, Laborato\u0159\r\nKyjev, Ukrajina, NO FLASH!\r\n\r\n1999\r\nPraha, M\u00e1nes, Nepl\u00e1novan\u00e9 spojen\u00ed\r\nPraha, Galerie V\u00e1clava \u0160p\u00e1ly, Perplex\r\nPraha, Richterova vila, O l\u00e1sce\r\nOstrava, \u010cern\u00fd pavouk, P\u0159irozen\u00ed po x letech\r\n\r\n1998\r\nPraha, D\u016fm U zlat\u00e9ho prstenu, Sou\u010dasn\u00e9 \u010desk\u00e9 um\u011bn\u00ed Praha\r\nSanders and Dempsey, Squire\r\n\r\n1997\r\nPraha, Nov\u00e1 S\u00ed\u0148 Mrtv\u00e9 du\u0161e Konstanz\r\nN\u011bmecko, Neue tschechische Kunst\r\nPraha, M\u00e1nes, Sn\u00ed\u017een\u00fd rozpo\u010det\r\nPraha, AP ateli\u00e9r, Frot\u00e9\r\n\r\n1996\r\nPraha, Galerie V\u00e1clava \u0160p\u00e1ly \u010cesk\u00e1 abstrakce\r\nPraha, Richterova vila, Respekt\r\nSv\u00e1rov, Konfrontace\r\nPraha, Galerie MXM, spole\u010dn\u011b s I. Voseck\u00fdm, J. \u010cernick\u00fdm, M. Va\u0148kovou\r\n\r\n1995\r\nPraha, M\u00e1nes\r\nSarajevo, Bosna\u2013Hercegovina, Project for Europe\r\n\r\n1994\r\nLinz, Rakousko, NETZ Europa\r\nCopenhagen, D\u00e1nsko, Project for Europe\r\n\r\n1993\r\nOlomouc, Galerie P\u016fda\r\n\r\n1992\r\nOstrava, Nov\u00e1 s\u00ed\u0148, Do p\u011btat\u0159iceti Linz, Rakousko,\r\n\r\n1990\r\nOstrava, Antisal\u00f3n\r\nHav\u00ed\u0159ov, W\u00fcnscheho s\u00ed\u0148\r\nPraha, AVU \u2013 U Hybern\u016f\r\nPraha, KD Blatiny, V\u00fdstava ateli\u00e9ru M. Kni\u017e\u00e1ka\r\nPraha, KD Blatiny, V\u00fdstava ateli\u00e9ru M. Kni\u017e\u00e1ka","realizations_other":"","collections":"N\u00e1rodn\u00ed galerie v Praze\r\nAl\u0161ova jiho\u010desk\u00e1 galerie v Hlubok\u00e9 nad Vltavou\r\nGalerie modern\u00edho um\u011bn\u00ed v Roudnici nad Labem\r\nLudwig Sammlung, Aachen\r\nV\u00fdchodo\u010desk\u00e1 galerie, Pardubice\r\nWannieck gallery, Brno\r\nGalerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed Ostrava","monographies":"P. 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":"Va\u0148ous, P.: D\u00fdchaj\u00edc\u00ed obraz, A2 kulturn\u00ed t\u00fdden\u00edk 4\/2008, s. 26-27","reviews":"Obrazy, kter\u00e9 p\u0159ich\u00e1zej\u00ed \u2026 \u00davodn\u00ed slovo Martina Dost\u00e1la Je na ka\u017ed\u00e9m z n\u00e1s, jak\u00fd \u017eivot se rozhodne pro\u017e\u00edt. Takov\u00e9 rozhodnut\u00ed ov\u0161em nemus\u00ed b\u00fdt ani trval\u00e9, ani p\u0159esn\u00e9, ani v\u010dasn\u00e9, m\u016f\u017ee p\u0159ich\u00e1zet kdy chce, postupn\u011b, stejn\u011b jako m\u016f\u017ee odch\u00e1zet, odej\u00edt, \u010dlov\u011bk nakonec stejn\u011b zem\u0159e. Mal\u00ed\u0159 Petr Pastr\u0148\u00e1k do\u0161el k sv\u00e9mu mal\u00ed\u0159stv\u00ed postupn\u011b, pozd\u011bji ne\u017e b\u00fdv\u00e1 obvykl\u00e9. Je ot\u00e1zkou, zda v\u016fbec cht\u011bl b\u00fdt mal\u00ed\u0159em. S\u00e1m ostatn\u011b kdysi tvrdil, \u017ee b\u00fdval p\u0159ekvapen, \u017ee se v\u016fbec n\u011bkdo zaj\u00edmal o jeho obrazy. Pra\u017eskou Akademi\u00ed pro\u0161el a\u017e po revoluci, a frekventoval ateli\u00e9ry Milana Kn\u00ed\u017e\u00e1ka (1990\u20141992), Michala Bielick\u00e9ho (1992\u20141994) a Ji\u0159\u00edho Davida (1994\u20141996). Vzhledem k tomu, \u017ee je narozen v \u00fanoru 1962, vysv\u00edt\u00e1, \u017ee byl pom\u011brn\u011b star\u0161\u00ed student, v\u017edy\u0165 Ji\u0159\u00ed David, u n\u011bho\u017e nakonec diplomoval, p\u0159i\u0161el na sv\u011bt o pouh\u00fdch \u0161est let d\u0159\u00edve. Kolem poloviny 90. let vystavoval Petr vedle obraz\u016f tak\u00e9 diainstalace, readymadov\u00e9 s\u00e9rie z edukativn\u00edch diapozitiv\u016f ur\u010den\u00fdch pro \u0161koln\u00ed v\u00fduku ze 70. let. Petr je sestavil do s\u00e9rie, kter\u00e1 se v p\u0159\u00edjemn\u00e9m rytmu prom\u00edtala na st\u011bnu. Bylo vedlej\u0161\u00ed, \u017ee z\u00e1b\u011bry asociovaly soci\u00e1ln\u00ed konotace, pro Petra byly kr\u00e1sn\u00e9. Tvrdil, \u017ee um\u011bn\u00ed se odehraje uvnit\u0159, v tom, kdo se d\u00edv\u00e1. Mysl\u00edm, \u017ee to je kl\u00ed\u010dov\u00e9 heslo, kter\u00fdm se lze p\u0159ibl\u00ed\u017eit Petrovu rozhodnut\u00ed, \u017ee je mal\u00ed\u0159em, \u017ee maluje ve sv\u00e9m \u017eivot\u011b obrazy, ale tak\u00e9 to, \u017ee sv\u00e9 obrazy nechal k sob\u011b a do sebe p\u0159ij\u00edt. Bylo by ale myln\u00e9 se domn\u00edvat, \u017ee Pastr\u0148\u00e1kovy obrazy vznikaj\u00ed jen tak, lehce \u010di nahodile, p\u0159esto\u017ee jejich vizu\u00e1ln\u00ed pr\u016fzra\u010dnost a suver\u00e9nn\u00ed estetick\u00e1 gesti\u010dnost m\u016f\u017ee k tomuto dojmu sv\u00e1d\u011bt. Sv\u00e9 obrazy ale nemaluje ani t\u011b\u017ece, nejsou programov\u011b komponov\u00e1ny, nep\u0159edch\u00e1zej\u00ed jim studie, kresby, komplikovan\u00e1 sd\u011blen\u00ed. Pastr\u0148\u00e1kovy obrazy se objevuj\u00ed samoz\u0159ejm\u011b, v prostoru existence, do kter\u00e9 se mal\u00ed\u0159 dostal a dost\u00e1v\u00e1, v p\u0159esn\u00e9m ale neohrani\u010diteln\u00e9m poli, otev\u0159en\u00e9m vlastn\u00edmu pro\u017eitku \u017eivota a dohled\u00e1v\u00e1n\u00ed jeho smyslu. Petr Pastr\u0148\u00e1k s\u00e1m napsal, \u017ee mu p\u0159ipad\u00e1, \u017ee jeho obrazy tvo\u0159\u00ed jak\u00fdsi den\u00edk. Den\u00edk nejen ve smyslu n\u00e1m\u011bt\u016f, kde vedle \u010dir\u00fdch abstrakc\u00ed p\u0159ech\u00e1z\u00ed do seri\u00e1ln\u00edch raz\u00edtkov\u00fdch otisk\u016f, do krajin les\u016f \u010di \u010desk\u00fdch line\u00e1rn\u00edch panoramat, do z\u00e1ti\u0161\u00ed s akvarijn\u00edmi rybi\u010dkami, do svat\u00fdch obr\u00e1zk\u016f Madon \u010di Buddhy, do portr\u00e9t\u016f nezn\u00e1m\u00fdch i zn\u00e1m\u00fdch lid\u00ed, do akt\u016f, do mot\u00fdl\u016f\u2026, ale tak\u00e9 jako den\u00edkov\u00fd z\u00e1znam vlastn\u00ed fyzick\u00e9 energie, vlastn\u00edho rozpolo\u017een\u00ed, jeho\u017e jedinou stopou je pouh\u00fd obrazov\u00fd z\u00e1znam. Um\u011blec jako takov\u00fd je toti\u017e bezcenn\u00fd, p\u0159\u00edb\u011bh jeho \u017eivota, jakkoliv m\u016f\u017ee b\u00fdt zaj\u00edmav\u00fd, nostalgick\u00fd, tragick\u00fd, \u0161\u0165astn\u00fd i nicotn\u00fd je toti\u017e nep\u0159enosn\u00fd, ostatn\u011b jako jak\u00fdkoliv jin\u00fd \u017eivot. Petr sv\u00fdmi obrazy mo\u017en\u00e1 sd\u011bluje tuto zku\u0161enost podstatn\u00e9ho. Posledn\u00ed dobou jezd\u00edv\u00e1 na n\u011bkolik m\u011bs\u00edc\u016f do Indie, kde prost\u011b je. Omezuje svou aktivitu na minimum a tak\u00e9 v Praze, kde \u017eije a tvo\u0159\u00ed, ub\u00edr\u00e1 vn\u011bj\u0161\u00edho. Jestli\u017ee jsem p\u0159ed p\u011bti \u0161esti lety napsal, \u017ee vedle vliv\u016f v\u00fdchodoasijsk\u00e9ho my\u0161len\u00ed a mentality hraje svou roli i fascinace televizn\u00edmi seri\u00e1ly, dnes to u\u017e neplat\u00ed. Zmizela televize a zv\u00fdraznil se pocit pro\u017e\u00edvan\u00e9ho, za\u017e\u00edvan\u00e9ho prostoru i \u010dasu. Petr maluje sv\u00e9 obrazy v okam\u017eiku toho, kdy s\u00e1m nev\u00ed, co bude d\u00e1l. Jedin\u00fdm korektivem je jeho vlastn\u00ed div\u00e1ctv\u00ed, jeho prohl\u00ed\u017een\u00ed vznikaj\u00edc\u00edho obrazu, p\u0159esto\u017ee estetick\u00e1 zku\u0161enost d\u00e1v\u00e1 podstatnou z\u00e1ruku jeho malov\u00e1n\u00ed. S\u00e1m je tak\u00e9 vd\u011b\u010dn\u00fdm div\u00e1kem, pracuje metodou ne nepodobnou v\u00fdchodoasijsk\u00e9 tu\u0161ov\u00e9 malb\u011b i s jej\u00ed intuic\u00ed nekone\u010dn\u011b variovan\u00e9 tradice, ale tak\u00e9 s pam\u011bt\u00ed d\u011bjin mal\u00ed\u0159stv\u00ed jako takov\u00e9ho, kdy\u017e \u010derp\u00e1 stejnou m\u011brou z Matisse (s jeho rybi\u010dkami), jako z Gerharda Richtera, ze \u0161patn\u011b zar\u00e1movan\u00fdch \u0161koln\u00edch reprodukc\u00ed \u010desk\u00e9 krajinomalby 19. i 20. stolet\u00ed, i z reakc\u00ed na sv\u00e9 mal\u00ed\u0159sk\u00e9 kolegy. P\u0159\u00edtomnost motiv\u016f \u010di princip\u016f je ov\u0161em latentn\u00ed, podstatn\u00fdm je prvek rozechv\u00edvan\u00e9, excituj\u00edc\u00ed n\u00e1hody, omezen\u00e9 \u010di naopak povzbuzen\u00e9 technick\u00fdmi mo\u017enostmi malby, barvy, povrchu pl\u00e1tna \u010di pap\u00edru, st\u0159\u00edk\u00e1n\u00edm, v\u00e1le\u010dkov\u00e1n\u00edm, rozm\u00fdv\u00e1n\u00edm, st\u00e9k\u00e1n\u00edm. V\u00fdsledek je v\u017edy jin\u00fd a z\u00e1rove\u0148 v\u017edy pastr\u0148\u00e1kovsk\u00fd, nezam\u011bniteln\u00fd svoj\u00ed vzru\u0161ivou lehkost\u00ed, lehkou a\u017e k nesnesiteln\u00e9 pot\u0159ebnosti znovu a znovu proch\u00e1zet o\u010dima tahy na jeho obrazech. Abstraktn\u00ed kreace, kter\u00fdmi velmi \u00fasp\u011b\u0161n\u011b vstoupil Petr kolem roku 1995 na \u010deskou sc\u00e9nu, jsou leitmotivem jeho malov\u00e1n\u00ed. Po po\u010d\u00e1te\u010dn\u00edm zahu\u0161t\u011bn\u00ed liniemi, tahy a barvami, doch\u00e1z\u00ed k vyleh\u010dov\u00e1n\u00ed, k redukci, ke kombinac\u00edm monochromn\u00ed, dvou- t\u0159\u00edbarevn\u00e9 \u0161k\u00e1ly. Taoistick\u00e1 zku\u0161enost nen\u00ed p\u0159eb\u00edr\u00e1n\u00edm tu\u0161ov\u00e9 vizuality, je p\u0159esv\u011bd\u010den\u00fdm i p\u0159esv\u011bd\u010div\u00fdm pokusem transformovat ji do z\u00e1padoevropsk\u00fdch obrazov\u00fdch dispozic. Uk\u00e1zn\u011bn\u00e1 rozvoln\u011bnost je zpev\u0148ov\u00e1na cyklick\u00fdmi s\u00e9riemi realisti\u010dt\u011bj\u0161\u00edho mal\u00ed\u0159stv\u00ed, v posledn\u00edch letech zejm\u00e9na krajinomalbou, a\u0165 se jedn\u00e1 o cyklus Les\u016f (2003\u20142004), tak v posledn\u00edch dvou letech s\u00e9rii transpozic ji\u017e namalovan\u00e9 \u010desk\u00e9 krajiny (letn\u00ed krajiny Adolfa Kos\u00e1rka, Soutok Labe s Vltavou Anton\u00edna Chittussiho i Fillovy z\u00e1znamy \u010cesk\u00e9ho st\u0159edoho\u0159\u00ed \u2014 tvo\u0159en\u00e9 na p\u0159elomu 40. a 50. let pod v\u011bdom\u00fdm a obdivn\u00fdm vlivem asijsk\u00e9ho tu\u0161ov\u00e9ho mal\u00ed\u0159stv\u00ed). I v t\u011bchto p\u0159\u00edpadech, stejn\u011b jako v portr\u00e9tech, st\u0159\u00edkan\u00fdch zejm\u00e9na na p\u0159elomu tis\u00edcilet\u00ed, se prop\u00edj\u00ed do obraz\u016f rozvoln\u011bn\u00e1 uhran\u010divost rukopisu, stejn\u011b tak suver\u00e9nn\u00ed jako v\u017edy jin\u00e1 a pro\u017e\u00edvan\u00e1. T\u011bkavost na pomez\u00ed abstrakce, rozml\u017een\u00ed podoby a tvar\u016f, ztajem\u0148ov\u00e1n\u00ed i prozrazov\u00e1n\u00ed zobrazen\u00e9ho i zobraziv\u00e9ho, to v\u0161echno jsou mo\u017enosti, kter\u00e9 m\u00e1 pouze malba. Petrova volba existovat jako mal\u00ed\u0159 byla spr\u00e1vn\u00e1. P\u0159evzato z um\u011blcovy webov\u00e9 str\u00e1nky, viz v\u00fd\u0161e","texts_unlisted":"","annotations":[{"text":"This artist devotes his time to painting, creating objects and installations. The focal point of his work consists of an attempt to reformulate traditional abstract painting. Pastr\u0148\u00e1k\u2019s paintings are not always, at their core, without subject matter. Sometimes they have a definite iconography (forests, faces, etc.). More important than their theme, however, is the actual way in which the work is created or processed. Here we are not talking about an optical mimesis even though they intentionally evoke certain visual associations with artefacts. These associations are however rather sorts of memories, fantasies, hallucinations and optical illusions. From the viewer\u2019s perspective of the image they enliven and redirect his or her attention to those internal sources. This is a game involving the boundaries of perception and reception (that is, a pure, primary reading and an understood perception or interpretation of what is seen). The artist\u2019s important formal tool is stains and traces. Both methods attempt to slightly deny their author, as if putting him in brackets. This is a gesture but in no case an expressive one. Rather it is a survey on the formal and informal possibilities of the given medium.  Stains traditionally held great potential: they represented a sort of primer for the imagination (Leonardo\u2019s stains on the wall, etc.).  At the same time they reminded us of shapelessness (in the contrast of order and chaos), desecration and abjective disgust. The artist also devoted his time to installations with slides, which also served as a primer for the memory or fantasy. This involved work with patina (which also has a lot in common with stains).","date":0,"authors":[1834]}],"artworks":[109805,110973,110974,110975,110976,110977,110978,110979,110980,110981,110982,110983,110984,110985,110986,110987,110988,110989,110990,110991,110992],"videos":null},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.0 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Pastr\u0148\u00e1k - 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\/petr-pastrnak\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Pastr\u0148\u00e1k - Artlist\" \/>\n<meta property=\"og:url\" content=\"https:\/\/artlist.cz\/en\/umelci\/petr-pastrnak\/\" \/>\n<meta property=\"og:site_name\" content=\"Artlist\" \/>\n<meta property=\"article:modified_time\" content=\"2025-01-07T17:14:01+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\\\/petr-pastrnak\\\/\",\"url\":\"https:\\\/\\\/artlist.cz\\\/en\\\/umelci\\\/petr-pastrnak\\\/\",\"name\":\"Pastr\u0148\u00e1k - 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