{"id":121848,"date":"2024-07-10T23:05:09","date_gmt":"2024-07-10T21:05:09","guid":{"rendered":"http:devel.artlist.cz\/artist\/skala-5\/"},"modified":"2025-01-07T18:13:58","modified_gmt":"2025-01-07T17:13:58","slug":"jiri-skala","status":"publish","type":"artist","link":"https:\/\/artlist.cz\/en\/umelci\/jiri-skala\/","title":{"rendered":"Sk\u00e1la"},"featured_media":0,"template":"","class_list":["post-121848","artist","type-artist","status-publish","hentry","keyword-conceptual-art","keyword-konceptualni-umeni"],"acf":{"nicknames":"","date_born":1976,"date_death":0,"place_born":"Su\u0161ice","lives":"Prague","web":"http:\/\/www.gettoworkjirka.cz\/","idatum":"https:\/\/databaze.vvp.avu.cz\/en\/archivy\/archive-of-artists\/89","address":"","email":"jiriskala25@gmail.com","phone":"+420 776 627 391","biography":"Studies:\r\n1998-2004 Academy of Fine Arts, Prague (studios of Jiri David and Vladim\u00edr Skrepl)\r\n\r\nAwards:\r\n2009 Jind\u0159ich Chalupeck\u00fd Prize\r\n\r\nStipends:\r\n2003 Palais de Tokyo, post-graduate program, Paris, France\r\n2004 Quartier 21, artist residency program, Muzeum Quartier, Vienna\r\n2005 Art in General, artist residency program, N.Y., New York\r\n2006 Residency in Bucharest, Rumania, as a part of the project How to Do Things? \u2013 In the Middle of (No)where\u2026 organized by uqbar-Gesellschaft f\u00fcr Repr\u00e4sentationsforschung, Berlin","groups":[121177],"membership":"","exhibitions_solo":"2012\r\nThird Family of Objects and Confrontational Readings, hunt kastn er, Prague\r\n\r\n2010\r\nMessages in an Emergency, Czech Center New York, N.Y., USA\r\nYou are the Object, I am the Pronoun, V\u00e1clav Sp\u00e1la Gallery, Prague\r\n\r\n2007\r\nTwo Families of Objects, hunt kastner, Prague\r\n\r\n2006\r\nV\u00fdm\u011bna rukopisu \/ Exchange of Handwriting, Moravian Gallery, Pra\u017e\u00e1k\u016fv pal\u00e1c Atrium, Brno\r\nExchange of Handwriting, Art in General, New York, N.Y., USA\r\n\r\n2005\r\nThe Pacific Has no Memory, Galerie Eskort, Brno\r\n\r\n2004\r\nLocal Stigma, FUTURA, Prague\r\nDOS, Labour Union House, public art project on a billboard, Prague\r\n\r\n2002\r\nHygiena, Galerie Display, Prague\r\n\r\n2001\r\nMicrofiltration, (with Marek Ther), Galerie Jelen\u00ed, Foundation and Center for Contemporary Arts, Prague","exhibitions_group":"2013\r\nThe Earth Turns and All Things Slip Away, curated by Edith Je\u0159abkov\u00e1 and Ji\u0159\u00ed Kovanda, hunt kastner, Prague\r\n\r\n2012\r\n\u00c7a & l\u00e0 (This & There), curated by Claude Closky, Fondation d\u00b4entreprise Ricard, Paris\r\nFamily Talk, curated by Marco Antonini, Futura, Prague\r\nBeginning of the Century, curated by Pavlina Morganov\u00e1, Pilsen Regional Gallery, Pilsen\r\nBetween the First and Second Modernity, 1985-2012, curated by Ji\u0159\u00ed \u0160ev\u010d\u00edk, Edith Je\u0159\u00e1bkov\u00e1 and Jana \u0160ev\u010d\u00edkov\u00e1, \r\nNational Gallery in Prague at the Velet\u0159\u017en\u00ed Palace, Prague\r\nA Plea for Tenderness, curated by David Raymond Conroy, Seventeen Gallery, London, UK\r\nThe Eleventh Hour, curated by Michal Novotny, FUTURA, Prague\r\n\r\n2011\r\nYoung Visual Artist Awards, curated by Rita Kalman, Tijana Stepanovic and Lucia Gavulov\u00e1, Slovak National Galerie, \r\nBratislava, SK\r\nMistrust of the Inteligencia, curated by Pavel Sterec and Tereza Stejskalov\u00e1, Open Gallery at the Foundation and Center \r\nfor Contemporary Arts, Bratislava, SK\r\n12 POINT: Petr Bab\u00e1k, Petr Bos\u00e1k, Robert Jansa, Ji\u0159\u00ed Kovanda, Jan Nalevka, Radim Pesko, Ji\u0159\u00ed Sk\u00e1la, Jan \u0160er\u00fdch, curated \r\nby Adela Svobodova, 35m2, Prague\r\nLes amis des mes amis sont mes amis, Hommage a J\u00e1n Man\u010du\u0161ka, Galerie Jocelyn Wolff, Paris, FR\r\nVI NEW ZLIN SALON, Zlin Regional Art Gallery, Zlin\r\nSculpture in the Street II, curated by Karel Cisar, organized by DUMB: Brno House of Arts, streets and public spaces in \r\nBrno\r\nThe Other Tradition, curated by Elena Filipovic, Wiels Contemporary Art Centre, Brussels, BE\r\n\r\n2010\r\nU bUdU tU bUdU, curated by Viktor +cech, Skolska 28, Prague, CZ\r\nJind\u0159ich Chalupeck\u00fd Award Winners \u2013 20 Years, Dox Center for Contemporary Art, Prague\r\nImage at Work, curated by Helena Holmberg, a project initiated by Xposeptember, Romanian Culture Institute,\r\nStockholm, Sweden\r\nThere has been no Future, There will be no Past, ISCP, New York, N.Y., USA\r\nA Map Bigger than its Surface, Rotor Gallery, University of Gothenburg, Gothenburg, Sweden\r\nSpace Demonstration, curated by Ladv\u00ed, Street for Art Festival, BLOX Docasne centrum umeni by TOUAX, Prague\r\nAfter Velvet, curated by Sandra Baborovsk\u00e1, Prague City Gallery, House of the Golden Ring, Prague\r\nGaspard of the Night, curated by Vaclav Magid, FUTURA, Prague\r\nOral Fixations, Ji\u0159\u00ed Sk\u00e1la and Rad\u00edm Labuda, gumSTUDIO, Carrara, Italy\r\n\r\n2009\r\nChalupeck\u00fd Award finalists exhibition, DOX Center for Contemporary Art, Prague\r\nThe Situation, 3rd Moscow Biennale of Contemporary Art, curated by Elizabeth Grady, Solyanka Gallery, Moscow, \r\nRussia\r\nSKUTR II, Biennale of Young Artists, Kopplovas Vila, Trnava, Slovakia\r\nPsychologie budoucnost\u00ed, A.M.180, Prague\r\n\r\n2008\r\n2008 Jind\u0159ich Chalupeck\u00fd Award Finalists Exhibition, House of the Lords of Kun\u0161t\u00e1t, House of Arts, Brno\r\nX+X 2008: 10 plus 10 artists from the Pilsen and Oberfalz region, curated by Jurgen Huber and Edith\r\nJerabkov\u00e1, Galerie Klatovy \/ Klenov\u00e1, Klatovy\r\nARS TELEFONICA, site-specific interventions in phone booths, Centre for Visual Introspection, Bucharest, RO\r\n6th Biennale of Young Artists, curated by Karel C\u00eds\u00e1\u0159, Prague City Gallery, House of the Stone Bell, Prague\r\nDie Gehilfe, Galerie Klatovy \/ Klenov\u00e1, Klatovy\r\nMonument to Transformation, Fragment # 6: Labour Day, (with Gintaras Makarevicius & Ciprian Muresan), \r\nLABOR,Budapest, Hungary2007\r\n25 Years Later: Welcome to Art in General, UBS Art Gallery, New York, N.Y. , USA\r\nFORM FOLLOWS... RISK, curated by Jana and Jiri \u0160ve\u010d\u00edk, Karl\u00edn Studios and FUTURA in Prague & Slovak\r\nNational Gallery, Bratislava, Slovakia\r\nGross Domestic Product, curated by Kry\u0161tof Kintera, Prague City Gallery, Municipal Library, Prague\r\nFestival of Regions 2007, Exits and Dead-ends, region of Kirchdorf-Krems, Austria\r\nAutovision, (with Ondrej Brody, Viktor Freso & Evzen Simera), Old Town Hall, Prague City Gallery\r\n\r\n2006\r\ntranzit: Auditorium, Stage, Backstage - An Exposure in 32 Acts, curated by V\u00edt Havr\u00e1nek, Frankfurter Kunstverein, \r\nFrankfurt, Germany\r\nACNE, Contemporary Czech Painting from the Richard Adam Collection, Rudolfinum Gallery, Prague\r\nI Invited Some Friends to Come and Watch, curated by David Kulh\u00e1nek, Galerija M. Kraljevic + Galerija Nova, Zagreb, \r\nCroatia\r\nI, an exhibition in 3 acts, curated by Vit Havranek-Tranzit CZ, FUTURA, Prague and Galerie Grafisches Kabinett, Vienna, \r\nAustria\r\nSlep\u00ed mu\u017ei p\u0159em\u011b\u0159uj\u00ed slona \/ Blind Men Measuring an Elephant, curated by Rafani, Gallery C2C, Prague\r\nHow to Do Things? \u2013 In the Middle of (No)where\u2026, International Center for Contemporary Art, Bucharest, Romania, \r\nand Kunstraum Kreuzberg\/Bethanien, Berlin, Germany\r\nOffice Art, curated by Zuzana \u0160tefkov\u00e1, Gallery C2C, Prague\r\n\r\n2005\r\n1811197604122005, organized by Galerie Display, Plan B, Cluj, Romania\r\nNarrow Focus, Tranzit Workshops, Bratislava, Slovakia\r\nDefinition of Everyday, Prague Biennale 2, curated by V\u00edt Havr\u00e1nek and Karel C\u00eds\u00e1\u0159, Karl\u00edn Hall, Prague\r\n5th Biennial of Young Artists, curated by Karel C\u00eds\u00e1\u0159, Prague City Gallery, House of the Stone Bell, Prague\r\nThe Need to Document, curated by V\u00edt Havr\u00e1nek, Kunsthalle Baselland, Basel, Switzerland\r\nMark\u00e9ta Va\u0148kov\u00e1, (with Ond\u0159ej Brody, Viktor Fre\u0161o, Ev\u017een \u0160imera, Marek Ther), Galerie NoD, Prague\r\n\r\n2004\r\n2004 Jind\u0159ich Chalupeck\u00fd Award Finalists, Brno House of Arts, Brno\r\nTake it Personally, A.M.180, Prague\r\nThe 3rd Seoul International Media Art Biennale, Seoul, South Korea\r\n\r\n2003\r\nIncomprehension, Palais de Tokyo, Paris, France\r\nGNS, Palais de Tokyo, Paris, France\r\nArt Klazma, Moscow, Russia\r\nImag\u00e9tica, Curitiba, Brazil\r\n\r\n2002\r\nV\u00fdtah, public art project, \u0158ipsk\u00e1 street, Prague\r\n00. Exhibition Which Grows from the Middle, Palais de Tokyo, Paris, France\r\n\r\n2001\r\n1st Tirana Biennale, Tirana, Albania\r\nGlued Intimacy, curated by V\u00edt Havr\u00e1nek, Galerie Jelen\u00ed, Foundation and Center for Contemporary Arts, Prague\r\nCasino, Galerie NoD, Prague\r\nThe Japan Crossing, a project with Mark Ther\r\n\r\n2000\r\nSource of New Style, Prague Castle Riding Hall, Prague\r\nEnclave, Kamenick\u00e1 Street, Prague\r\nSpring Wankers, Mysl\u00edkova Street, Prague\r\nAutumn Sleeper, Mysl\u00edkova Street, Prague","realizations_other":"","collections":"","monographies":"","articles":"Interview with Ji\u0159\u00ed Sk\u00e1la (after having been awarded the Chalupeck\u00fd Prize): http:\/\/kultura.ihned.cz\/c1-39209010-jiri-skala-zajimaji-me-veci-ktere-mohou-byt-sdelitelne-i-mimo-galerii","reviews":"","texts_unlisted":"","annotations":[{"text":"According to established theoretical convention the work of the artist Ji\u0159\u00ed Sk\u00e1la can be dubbed conceptual, though it does not fit comfortably into this category. This is despite the fact that Sk\u00e1la\u2019s thinking is linked to conceptualism by its strictly polarised oppositions between text and object, picture and gallery space. To begin with he flirted with the suspended painterly form. This period saw a series of painted Flags, as well as the video performance Harmony Corruption. An already primed canvas was gradually turned into a total of four frames. Another example that again draws on painterly determined resources is Local Stigma. The video recording retained the simple preparation and priming of the canvas prior to the act of painting. The principle was to record several different methods of work, the joint objective of which is a painting on canvas. Sk\u00e1la was the creator of a plan with which everything complied.\r\n\r\nSk\u00e1la\u2019s work gradually moved toward the thematising of textual narrative and the search for an alternative mode of communication that could allow for the relevant existence of narrative, either in a gallery or public space. In 2006 he created one of the important examples of this style entitled Exchange of Handwriting. He undertook the first version in Art in General in New York and at the end of the same year presented the second version of the project at the Atrium of Pra\u017e\u00e1k Palace, Brno. He used the method of acquiring a manuscript in the opposite sense of verbal communication, by means of which we usually get to know the other. This fact of getting to know the other is supported by the presence of a female and male subject. In its way this was a contemplative workshop updating the concept of authorship. In 2007 at the Gallery Hunt Kastner an exhibition was held entitled \u201cTwo Groups of Subjects\u201d that paraphrased an essay by the Italian writer Umberto Eco, in which Sk\u00e1la began to investigate the duality of socially and privately determined relations to consumer production by means of work or leisure resources. In 2010 he published a book entitled \u201cOne Group of Subjects\u201d, in which the role of the text and object bring together that socially determining potential that Sk\u00e1la continues to systematically develop. The basis of the book is formally constructed on a descriptive form of narration, a strategy of experimental poetry evoking a list of engineering objects, and on the amateur photo-documentation of these objects by their users, i.e. the generation of artistic parents (now in the fifties and sixties), for whom these tools were a means of support in very clearly demarcated working hours, after which followed leisure time, usually filled by another kind of activity.\r\n\r\nSk\u00e1la subsequently used the relationship between narrative and the technological object when creating his internet blog. This served him as a virtual surface on which to hang videos of \u201cunboxing\u201d. New owners of technological devices (mainly smartphones, computers and digital cameras) film themselves while opening bulky cardboard boxes and upload the result to the web. This is accompanied by texts that are almost journal-like in character in which these technophiles describe their experience with the devices and again publish it somewhere on internet islands. Sk\u00e1la selected what he felt to be the most interesting examples of this huge volume of visual and textual material and then either manipulated the texts or write his own version. One could argue that he was interested in capturing the current generational level of consumers, where the originally clear boundary between leisure and work is gradually being eroded. The social dimension to Sk\u00e1la\u2019s activities consists in the attempt to reveal the mechanisms that radically expose our privacy and enter into the sphere of the totally public. Text is then a tool for the poeticisation of the artificial and motionless reality of the object, be this a symbol of desire or utilitarian production resource.\r\n\r\nAfter one year of its operations the blog gave rise to a series of performative readings in the Gallery Hunt Kastner Artworks, Prague. On this occasion Sk\u00e1la had the opportunity to utilise the conception of his blog physically, and to be inspired by the concept of the Prague Free Theatre and the stage concepts of Jind\u0159ich Honzl, Ji\u0159\u00ed Frejka and E. F. Burian. The original material of the unboxing videos was alternated in the gallery with readings of individual passages from the blog. Non-actors were invited to read the texts and were required by Sk\u00e1la, acting in the role of director, to restrict themselves exclusively to intelligible and fluent reading (with the occasional change of place within the gallery).\r\n\r\nAuthor \r\nRadim Langer","date":2013,"authors":[1870]}],"artworks":[108501,108502,108503,108504,108505,108506,108507,108509,108510,108526,108527,108528,108529,108530,108531,108532,108534,108535,110272,110273],"videos":[3076,3077,3078,3080]},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.0 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Sk\u00e1la - 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\/jiri-skala\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" 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