{"id":121815,"date":"2024-07-10T23:05:05","date_gmt":"2024-07-10T21:05:05","guid":{"rendered":"https:\/\/artlist.cz\/artist\/hanzlik-2\/"},"modified":"2025-01-07T18:13:59","modified_gmt":"2025-01-07T17:13:59","slug":"daniel-hanzlik","status":"publish","type":"artist","link":"https:\/\/artlist.cz\/en\/umelci\/daniel-hanzlik\/","title":{"rendered":"Hanzl\u00edk"},"featured_media":0,"template":"","class_list":["post-121815","artist","type-artist","status-publish","hentry","keyword-digitalni-obraz","keyword-kresba","keyword-malba","keyword-object","keyword-objekt"],"acf":{"nicknames":"","date_born":1970,"date_death":0,"place_born":"Teplice","lives":"Prague","web":"www.danielhanzlik.cz\r\nwww.boot-av.com","idatum":"","address":"Nov\u00e1kov\u00fdch 257\/32\r\n180 00, Praha 8 \u2013 Libe\u0148","email":"dan.hanzlik@post.cz","phone":"","biography":"Studies:\r\n1989-1995 Academy of applied arts, architecture and design in Prague\r\n1984-1988 Secondary Glass Making School in \u017delezn\u00fd Brod\r\n\r\nAwards:\r\n2001 Purchase Award of Primorsko \u2013 goranska County (15th international triennial of drawings, Modern Gallery in Rijeka, Croatia)\r\n1996 the Corning Prize, Corning Museum, USA\r\n\r\nStipends:\r\n2001 Egon Schiele Art Centrum, \u010cesk\u00fd Krumlov\r\n1996 Pilchuck Glass School, Seattle, USA","groups":null,"membership":"","exhibitions_solo":"2013\r\nZdroje sign\u00e1l\u016f. Colloredo-Mansfeldsk\u00fd pal\u00e1c, Galerie hlavn\u00edho m\u011bsta Prahy \r\n\r\n2012\r\nDatascape. Galerie Emila Filly, \u00dast\u00ed nad Labem\r\n\r\n2011\r\nGeodesic. Nadba\u0142tyckie Centrum Kultury, Gda\u0144sk, Polsko\r\n\r\n2009\r\nIn that Place. Galerie Avoid, Praha\r\n\r\n2008\r\nRespect of Privacy. Galerie Vernon projekt, Praha\r\n\r\n2007\r\nF.A.Q. - Frequently Asked Questions (s P. Mrkusem). Dresdner Kunstverein, Dresden\r\nFlash Back. Vlastiv\u011bdn\u00e9 muzeum a Galerie, \u010cesk\u00e1 L\u00edpa\r\nZahrada. Galerie die Aktualit\u00e4t des Sch\u00f6nen\u2026, Liberec\r\n\r\n2005\r\nShift (s P.Mrkusem). Synagoga, Centrum pro sou\u010dasn\u00e9 um\u011bn\u00ed,Gal\u00e9ria J\u00e1na Koniarka, Trnava\r\nF.A.Q. - Frequently Asked Questions (s P. Mrkusem). Dresdner Kunstverein, Dresden\r\nProstor pro jedno d\u00edlo. Pra\u017e\u00e1k\u016fv pal\u00e1c, Moravsk\u00e1 galerie, Brno\r\n\r\n2004\r\nCity Light. Galerie V\u0160UP, Praha\r\nNon-Electric Picture. D\u016fm um\u011bn\u00ed, \u010cesk\u00e9 Bud\u011bjovice\r\n\r\n2003\r\nInscape. Galerie Emila Filly, \u00dast\u00ed nad Labem\r\nCity Light. D\u016fm um\u011bn\u00ed, Brno\r\n\r\n2002\r\nZ\u00e1\u0159i\u010de. Galerie Mal\u00e1 \u0160p\u00e1lovka, Praha\r\n\r\n2000\r\n\u010c\u00e1sti \u010d\u00e1st\u00ed. Lounsk\u00e1 v\u00fdstavn\u00ed s\u00ed\u0148 Telecom, Louny\r\nMno\u017einy. Galerie Suter\u00e9n, \u00dast\u00ed nad Labem \r\nNoc a Noc (s P. Mrkusem). Galerie S\u00fdpka, Osov\u00e1 Byt\u00fd\u0161ka \r\n\r\n1998\r\nPomysln\u00fd st\u0159ed. Galerie Die Aktualit\u00e4t des Sch\u00f6nen, Liberec \r\nZd\u00e1nliv\u00fd pohyb. Projekt Starter &amp; Sorter, Galerie Detail Art, Praha \r\n\u010cern\u00fd posuv. Galerie U dobr\u00e9ho past\u00fd\u0159e, Brno\r\nKresby do grafitu. Mal\u00e1 v\u00fdstavn\u00ed s\u00ed\u0148, Louny \r\n\r\n1997 \r\nM\u00fdtus o Hv\u011bzd\u011b. Region\u00e1ln\u00ed muzeum, Teplice \r\n\r\n1995 \r\nIntroitus (s P. Mrkusem ). kostel Pov\u00fd\u0161en\u00ed sv. K\u0159\u00ed\u017ee, Moravsk\u00fd Beroun, \r\nGalerie E. Filly, \u00dast\u00ed nad Labem \r\n\r\n1993 \r\nV\u00fdstava v nuselsk\u00e9m ateli\u00e9ru II. (s P. Mrkusem ), Praha \r\n\r\n1992 \r\nV\u00fdstava v nuselsk\u00e9m ateli\u00e9ru I. (s P. Mrkusem ), Praha","exhibitions_group":"2013\r\nDoteky hudby. Severo\u010desk\u00e1 galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed, Litom\u011b\u0159ice\r\nVelk\u00e9 ticho. Galerie modern\u00edho um\u011bn\u00ed, Hradec Kr\u00e1lov\u00e9\r\n\r\n2012\r\nFilm v s\u00fa\u010dasnom umen\u00ed. Nitransk\u00e1 gal\u00e9ria, Nitra, Slovensko\r\nParaleln\u00ed historie. Galerie St\u0159edo\u010desk\u00e9ho kraje, Kutn\u00e1 Hora \r\n\r\n2011 \r\n\u010cesk\u00e1 malba generace 90. let. D\u016fm um\u011bn\u00ed, Brno\r\nFundamenty &amp; Sedimenty. Galerie hlavn\u00edho m\u011bsta Prahy\r\nParaleln\u00ed historie. Severo\u010desk\u00e1 galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed, Litom\u011b\u0159ice\r\nRhytmic Exercises. BWA Sokol Gallery, Nowy Sacz, Polsko\r\n\r\n2010 \r\nSCOPE Basel Artshow. Basil, \u0160v\u00edcarsko\r\nAkce ZET. Galerie Emila Filly, \u00dast\u00ed nad Labem\r\nFormate der Transformation 89 \u2013 09. MUSA Museum auf Abruf, V\u00edde\u0148, Rakousko\r\n\r\n2009 \r\nForm\u00e1ty transformace 89-09. D\u016fm um\u011bn\u00ed, Brno\r\nNo Reply Necessary. Galerie Vernon City, Praha\r\nLabyrint sv\u011btla. Ekotechnick\u00e9 muzeum, Praha\r\nArte Fiera Bologna, It\u00e1lie\r\n\r\n2008 \r\nSpiknut\u00ed. Galerie Emila Filly, \u00dast\u00ed nad Labem\r\nTina B. - Festival sou\u010dasn\u00e9ho um\u011bn\u00ed. Italsk\u00fd kulturn\u00ed institut, Praha\r\nAeron\u00e1le. Leti\u0161t\u011b Praha\r\nSv\u011btla m\u011bst a no\u010dn\u00ed chodci. Galerie modern\u00edho um\u011bn\u00ed, Hradec Kr\u00e1lov\u00e9\r\n\r\n2007 \r\nTina B. - Festival sou\u010dasn\u00e9ho um\u011bn\u00ed, Lapid\u00e1rium N\u00e1rodn\u00edho muzea, Praha\r\n4. Mezin\u00e1rodn\u00ed bien\u00e1le Industri\u00e1ln\u00ed stopy 2007, Hornick\u00fd skanzen Mayrau, Vina\u0159ice\r\nProstor pro intuici. D\u016fm U zlat\u00e9ho prstenu, Galerie hl. m. Prahy\r\n\r\n2005 \r\nIV. Nov\u00fd zl\u00ednsk\u00fd salon. D\u016fm um\u011bn\u00ed, Zl\u00edn\r\n\r\n2004 \r\nParaleln\u00ed prom\u00edt\u00e1n\u00ed. D\u016fm um\u011bn\u00ed v Opav\u011b, Galerie \u0160ternberk\r\n\r\n2003 \r\nEjhle Sv\u011btlo. Moravsk\u00e1 galerie, Brno\r\n\r\n2002 \r\nMonochromie. \u010cesk\u00e9 muzeum v\u00fdtvarn\u00fdch um\u011bn\u00ed, Praha \r\nIV. Bien\u00e1le mlad\u00e9ho um\u011bn\u00ed Zvon 2002. D\u016fm U Kamenn\u00e9ho zvonu, Praha \r\nHot Destination \/ Marginal Destiny. Hipermarket Mediator, Srebreno, Chorvatsko \r\n\r\n2001 \r\nMo\u017en\u00e1 sd\u011blen\u00ed. Moravsk\u00e1 galerie, Brno \r\n15th International Exhibition of Drawings. Modern Gallery in Rijeka,\r\nMuseum of Modern and Contemporary Art, Chorvatsko \r\n\r\n2000 \r\nNejasn\u00e1 evidence. D\u016fm um\u011bn\u00ed, \u010cesk\u00e9 Bud\u011bjovice \r\nII. Zl\u00ednsk\u00fd salon mlad\u00fdch. St\u00e1tn\u00ed galerie, Zl\u00edn \r\n\r\n1999 \r\nUm\u011bn\u00ed pro nemocnici. Galerie V. \u0160p\u00e1ly , Praha \r\nKlub konkretist\u016f. SNG, Bratislava \r\n\r\n1998 \r\nPohyb kolem st\u0159edu. D\u016fm um\u011bn\u00ed, Brno \r\n\r\n1997 \r\nI. Zl\u00ednsk\u00fd salon mlad\u00fdch. St\u00e1tn\u00ed galerie, Zl\u00edn \r\nO po\u010d\u00e1tku. Kl\u00e1\u0161ter Plasy\r\n\r\n1996 \r\nPrivate Anamnesis. Dominik\u00e1nsk\u00fd kl\u00e1\u0161ter sv. Vojt\u011bcha, \u00dast\u00ed nad Labem, \r\nOblastn\u00ed galerie v Liberci \r\nExhibition of Light Emitting Objects. Bubba Mavis Gallery , Seattle , USA\r\n\r\n1994 \r\nMlad\u00ed um\u011blci z Prahy. Kunstmuseum Ehrenhof , D\u00fcsseldorf, SRN","realizations_other":"Audiovizu\u00e1ln\u00ed performance (s P. Mrkusem):\r\n2011\r\nA.M.2011. Obecn\u00ed d\u016fm, Praha\r\n\r\n2010\r\nGraycode. Motorenhalle, Dresden, Galerie sou\u010dasn\u00e9ho um\u011bn\u00ed, Ostrava\r\nBarocode. Nostic\u016fv pal\u00e1c, Praha, St. Leonardo church, Venice, It\u00e1lie\r\nRecovery. D\u016fm um\u011bn\u00ed, \u010cesk\u00e9 Bud\u011bjovice\r\n\r\n2009\r\nExit. Galerie E. Filly, \u00dast\u00ed nad Labem\r\n(A)VOID Gallery, Praha\r\nMinimaraton elektronick\u00e9 hudby. GVU, Ostrava\r\nTransmissionscheibe II. Ekotechnick\u00e9 muzeum, Praha\r\nLandschaft. N\u00e1rodn\u00ed galerie, Kl\u00e1\u0161ter Sv. Ji\u0159\u00ed, Pra\u017esk\u00fd hrad\r\nTransmissionscheibe I. Motorenhalle, Dresden\r\n\r\n2008\r\nDeartisation. N\u00e1rodn\u00ed Galerie, Veletr\u017en\u00ed pal\u00e1c, Praha\r\n\r\n\r\nRealizace:\r\n\r\n2009\r\nNeuron. Fakulta um\u011bn\u00ed a designu, \u00dast\u00ed nad Labem\r\n\r\n2011\r\nIndik\u00e1tor. \u010cesk\u00fd statistick\u00fd \u00fa\u0159ad, Praha","collections":"Centre for Contemporary Arts, Praha\r\nMoravian Gallery, Brno\r\nEgon Schiele Art Centrum, Cesk\u00fd Krumlov\r\nToyama City Institute of Glass Art, Japan\r\nModern Gallery in Rijeka, Croatia\r\nprivate collections in the Czech Republic and abroad","monographies":"","articles":"Varteck\u00e1, Anna: Daniel Hanzl\u00edk, Galerie die Aktualit\u00e4t des Sch\u00f6nen, Flash Art No.5, 2007\r\nMachalick\u00fd, Ji\u0159\u00ed: Kontrast k\u0159ehkosti a agrese, Lidov\u00e9 noviny, 1. b\u0159ezna 2007 \r\nKole\u010dek, Michal: Daniel Hanzl\u00edk: Zahrada, Reflex - EX \u010d.6 \/ 2007\r\nMal\u00e1, Olga: Perfect Tense - Malba dnes, text katalogu v\u00fdstavy\r\nPospiszyl, Tom\u00e1\u0161: Daniel Hanzl\u00edk: City Light, \u010dasopis T\u00fdden, 2003\r\nValoch, Ji\u0159\u00ed: Sv\u011bteln\u00e9 m\u011bsto Daniela Hanzl\u00edka, Ateli\u00e9r 16-17\/2003","reviews":"","texts_unlisted":"","annotations":[{"text":"Daniel Hanzl\u00edk, by training a glassworker at the studio led by Vladim\u00edr Kopeck\u00fd, has been involved in various different media since the start of his career. These include paintings, photography, site-specific installations and audiovisual performances. New media play a pivotal role in his projects and light appears everywhere as a thematic, technical or expressive component.\r\nMuch of Hanzl\u00edk\u2019s work is characterised by an interest in the urban space. This might involve site-specific installations or photography, especially taking advertising as its theme as a source of light and as a symbol of modern post-industrial civilisation. The aggressive visual quantity of commercials negates itself since we are incapable of perceiving individual adverts. And so Hanzl\u00edk erases them from defined surfaces, for instance in his <i>Time Square in White<\/i>. The empty surfaces have no message, and neither does the invasion of commercials to which we become immune and see them simply as scenery.\r\nIn <i>Silenced<\/i> Hanzl\u00edk created a billboard illuminated from below. So far, so good. However, there is no information and the light illuminates an empty space. As in <i>Time Square in White<\/i> we have lost the ability to endure information. <i>LXIV<\/i> examines similar themes. It is a collection of municipal light sources that influence the appearance of the environment \u2013 during the day we are aware of the historical value of places in terms of their architecture or period character, while at night, thanks to their luminous information, we see them completely differently.\r\nThe cycle <i>Lok\u00e1ln\u00ed vesm\u00edr \/ Local Universe<\/i> was influenced by fractals and chaos theory. We are faced with three photographs. One is of space and taken by the Hubble Telescope, the second depicts the city and its light at night, and the third shows a high-rise apartment blocks with illuminated windows. Another group comprises light objects in which Hanzl\u00edk fixes bulbs to slats. These depict the acronyms we use in SMSes and chats. The illuminated letters ISYAW mean I see you anywhere, and MYOB is Mind your own business.\r\nAnother site-specific project is <i>Rekonstrukce \/ Reconstruction<\/i>. Taking an original baroque sculpture from Charles Bridge held in a lapidarium, Hanzl\u00edk placed a billboard on it with a photograph of its location and the sound of tourists. The project <i>Zahrada \/ Garden <\/i>was created specifically for the Galerie die Aktualit\u00e4t des Sch\u00f6nen in Liberec. It comprises two installations inspired by modified and reinterpreted elements of a specific commercial.\r\nThe primary aim of a commercial is to draw attention and to have an effect on the senses of potential customers. Hanzl\u00edk activated this function in an op-art inspired installation of black-and-white sticky tape placed on the floors and pillars of the rooms of a gallery, thus achieving an intense optical effect of a transformed environment. In another installation he used the motif of a commercial transferred into a video installation in such a way that the information on the commercial was concealed and perceived only by virtue of a detail of the project that moves around the wall in a horizontal and vertical direction and gradually scans the entire projection surface. The effect is to suppress or even erase the original information. The video projection includes the construction of a billboard of an empty panel intended for fly posting. The sculpture semantically negates the function of the billboard and becomes simply an emptied construction.\r\nAnother element of Hanzl\u00edk\u2019s work involves painting. At first sight this seems to imply geometric abstraction and is reminiscent of the minimalism of the 1960s, though its starting point is always concrete. Panting \u2013 acrylic paint on canvas \u2013 based on electronic images (e.g. a PC screen increased to macrostructure) or on pictures of fluorescent lamps. The original image is freely interpreted and depicts a certain cut-out and detail. Information is present but illegible. Hanzl\u00edk is asking whether the light might not be have a spiritual, transcendent dimension: the viewer is enveloped in luminous energy.\r\nHis cooperation with Pavel Mrkus forms a special chapter in Hanzl\u00edk\u2019s output. Together they created <i>BOOT_audiovisual<\/i>, a platform for audiovisual performances, electronic music, digital art and site-specific installations. BOOT_audiovisual participates in the realisation of audiovisual and interactive exhibitions. These productions are created in situ and in real time and are not prepared in advance. The different elements of the production have a mutual influence on each other, i.e. sound reacts to image and vice versa. Sound is not simply the background to images. Prior to realising a project the actors create several sets of sounds and images that are then mixed live. The sound is computer generated. It does not involve melody but audio modulation in which Hanzl\u00edk works with frequencies that he distorts, extends, layers and rythmicises. The images are created by the outputs from generated graphic design or from real videos. The rhythm of the alternation of visual surfaces corresponds directly to the audio form of ambient structures and together creates a compact audiovisual stream.\r\n\r\n","date":0,"authors":[1853]}],"artworks":[108265,108266,108267,108268,108269,108270,108271,108272,108273,108274,108275,108276,108277,108278,108279,108280,108281,108359,108360,108361,108362,108363,108364,108365,108366,108367,108368,108369,108429,108430,108431,108432,108433,108434,110813,111635,111636,111637,111638,111639,111640],"videos":null},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Hanzl\u00edk - 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\/daniel-hanzlik\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta 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