{"id":121917,"date":"2024-07-10T23:05:16","date_gmt":"2024-07-10T21:05:16","guid":{"rendered":"http:devel.artlist.cz\/artist\/dobes-2\/"},"modified":"2025-01-07T18:13:55","modified_gmt":"2025-01-07T17:13:55","slug":"milan-dobes","status":"publish","type":"artist","link":"https:\/\/artlist.cz\/en\/umelci\/milan-dobes\/","title":{"rendered":"Dobe\u0161"},"featured_media":0,"template":"","class_list":["post-121917","artist","type-artist","status-publish","hentry","keyword-grafika","keyword-kinetismus","keyword-malba","keyword-objekt","keyword-public-art","keyword-public-art-umeni-ve-verejnem-prostoru","keyword-socha"],"acf":{"nicknames":"","date_born":1929,"date_death":0,"place_born":"P\u0159erov","lives":"Bratislava","web":"http:\/\/www.milandobes.sk\/","idatum":"","address":"Radvansk\u00e1 8, Bratislava","email":"","phone":"02\/54411851","biography":"Sudies:\r\n<br \/>1951\u20131956&nbsp;\r\nVysok\u00e1 \u0161kola v\u00fdtvarn\u00fdch um\u011bni v Bratislav\u011b, Ladislav \u010cemick\u00fd, Bedrich Hoffst\u00e4dter\r\n<br \/>Awards:\r\n1970 I. cena, Arts Festival Marietta, Ohio\r\n1970 I. cena, Socha pie\u0161\u0165ansk\u00fdch parkov, Pie\u0161\u0165any\r\n1969 I. cena, Socha\u0159sk\u00e9 bien\u00e1le, Montevideo","groups":null,"membership":"Jin\u00e1 geometrie","exhibitions_solo":"2009\r\nG\u00e1lerie Komart, Bratislava\r\nNa vln\u00e1ch konstruktivismu\/On the Wawes of Constructivism, Ostrava\r\n\r\n2008\r\nGalerie Zden\u011bk Sklen\u00e1\u0159, Praha\r\n\r\n2005\r\nPriestory Hoechst-Biotika, Martin\r\nMuseum of cotemporary art, Zagreb\r\n\r\n2004\r\nGal\u00e9ria umenia, Nov\u00e9 z\u00e1mky\r\n\r\n2003\r\nGal\u00e9ria mesta Bratislava, Bratislava\r\nMuseum Kampa, Praha\r\nGalerie Lindner, Wien\r\n\r\n2001\r\nM\u00fazeum Milana Dobe\u0161a (otvorenie m\u00fazea)\r\n\r\n2000\r\nCC centrum, Bratislava\r\n\r\n1999\r\nMuzeum J.A.Komensk\u00e9ho, P\u0159erov \u2013 z\u00e1mok (pri pr\u00edle\u017eitosti umelcov\u00fdch 70.naroden\u00edn)\r\n\r\n1998\r\nHotel Perugia, Bratislava\r\n\r\n1997\r\nGal\u00e9ria Z., Bratislava\r\nGal\u00e9ria Slovenskej sporite\u013ene, Bratislava\r\nHypobank, Bratislava\r\n\r\n1996\r\nMoravsk\u00e1 galerie, Brno\r\n\r\n1995\r\nSlovensk\u00e1 n\u00e1rodn\u00e1 Gal\u00e9ria, Bratislava\r\nMuzeum J.A.Komensk\u00e9ho, P\u0159erov-z\u00e1mok\r\n\r\n1994\r\nUmeleck\u00e1 beseda slovensk\u00e1, Bratislava\r\n\r\n1993\r\n\u0160t\u00e1tna Gal\u00e9ria, Bansk\u00e1 Bystrica\r\n\r\n1990\r\nSie\u0148 Laca Novomesk\u00e9ho, Braislava \r\nGallery Mitte, Wien\r\n\r\n1989\r\nDom slovenskej kultury, Praha\r\nGallery Verena, Zurich\r\n\r\n1986\r\n\u010ceskoslovensk\u00e9 kult\u00farne stredisko, Havana\r\n\r\n1984\r\nV\u00fdstavn\u00fd pavil\u00f3n Datasyst\u00e9m, Brno\r\n\r\n1982\r\nMuzeum J.A.Komensk\u00e9ho, P\u0159erov \u2013 z\u00e1mok\r\n\r\n1972\r\nCharter Oaks Galler, Pittsburg, Pennsylvania\r\n\r\n1971\r\nPoint park College Gallery, Pittsburg, Pennsylvania\r\nHudson River Museum, New York City\r\nMemorial Hall Gallery, Penna, California\r\nAWSO Gallery,Oakmont (Pennsylvania), New Martinsville\r\nParkersburg, Ravenswood (West Virginia), Marietta (Ohio), Aschland (Kentucky)\r\n\r\n1966\r\nGal\u00e9ria domu S\u010cSSP, Praha\r\n\r\n1965\r\nGal\u00e9ria Cypri\u00e1na Majern\u00edka, Bratislava\r\n\r\n1958\r\nGal\u00e9ria mlad\u00fdch, Bratislava","exhibitions_group":"V\u00fdb\u011br:\r\n\r\n2017\r\n\u010cS koncept 70. let\/ CS Conceptual Art of the 70s, Faith Gallery, Brna\r\nP\u0159\u00edli\u0161 mnoho zub\u016f, Museum Kampa, Praha\r\n\r\n2016\r\nKunst in Europa 1945\u20131968, Zentrum f\u00fcr Kunst und Medientechnologie, Karlsruhe\r\nXXL pohled\u016f na sou\u010dasn\u00e9 slovensk\u00e9 v\u00fdtvarn\u00e9 um\u011bn\u00ed, Galerie St\u0159edo\u010desk\u00e9ho kraje, Kutn\u00e1 Hora\r\n\r\n2015\r\nKonkret\/ism 1967\u20132015: V\u00fdstava KK3 Klubu Konkretist\u016f, Topi\u010d\u016fv salon, Praha\r\n\r\n2012\r\nOd Tiziana po Warhola: Muzeum um\u011bn\u00ed Olomouc, Olomouc\r\nMilan Dobe\u0161 a evropsk\u00e1 grafika, Galerie Z\u00e1vodn\u00fd, Mikulov\r\n\r\n2011\r\nPapier kole \u2013 slovensk\u00e1 kol\u00e1\u017e XX. a XXI. Stolet\u00ed, Galerie Sme\u010dky, Praha\r\nDialog p\u0159es hranice \u2013 Sb\u00edrka Hanse Petera Rieseho, Galerie St\u0159edo\u010desk\u00e9ho kraje, Kutn\u00e1 Hora\r\nSou\u010dasn\u00e1 slovensk\u00e1 geometrie 2, Galerie m\u011bsta Plzn\u011b, Plze\u0148\r\n\r\n2010\r\nHugo Demartini a Milan Dobe\u0161: Sv\u011btlem-prostorem-pohybem, Brno Gallery CZ, Brno\r\n\r\n2009\r\nMit konkreter Kunst leben, Gesellschaft K\u00fcnst und Gestaltung, Bonn\r\n\r\n2008\r\nArt Beijing 2008, National Agricultural Center, Peking\r\nMezin\u00e1rodn\u00ed trien\u00e1le sou\u010dasn\u00e9ho um\u011bn\u00ed 2008, Veletr\u017en\u00ed pal\u00e1c, Praha\r\nPohyb jako poselstv\u00ed, N\u00e1rodn\u00ed Galerie, Praha\r\n\u010cesk\u00e9 a slovensk\u00e9 v\u00fdtvarn\u00e9 umenie 60. rokov 20. storo\u010dia, Gal\u00e9ria M.A. Bazovsk\u00e9ho, Tren\u010d\u00edn\r\n20.stolet\u00ed ve slovensk\u00e9m v\u00fdtvarn\u00e9m um\u011bn\u00ed, J\u00edzd\u00e1rna \u2013 Pra\u017esk\u00fd hrad, Praha     \r\n1960 \u2013 s\u00fa\u010dasnos\u0165, Slovesk\u00e9 um\u011bn\u00ed plus \u010de\u0161t\u00ed host\u00e9, Galerie hlavn\u00edho mesta Prahy, D\u00fam\r\nu zlat\u00e9ho prstenu\r\n\r\n2007\r\nPrague Biennale 3 \u2013 Global and Outsiders: Connecting Cultures in Central Europe, Karl\u00ednsk\u00e1 hala, Praha\r\nSme svoji, Vyb\u011br sou\u010dasn\u00e9ho slovensk\u00e9ho um\u011bn\u00ed, Muzeum v Brunt\u00e1le, Z\u00e1mek\r\n\u201eOp art\u201c schrin kunsthalle, Frankfurt\r\n\u201eFerne nahe\u201c, Zyklus 2, Slowakei, Lilienfeld\r\nPraguebiennale 3, Karl\u00edn Hall, Praha\r\n\u201eHommage \u00e1 Kass\u00e1k\u201c, Kass\u00e1k  M\u00fazeum , Budape\u0161\u0165\r\nSlovensk\u00e1 grafika 20.storo\u010dia, Gal\u00e9ria mesta Bratislavy\r\n\r\n2006\r\nSztuka optyczna i kinetyczna zo zbior\u00f3w museuchelmskiego, Chelm\r\nEvropsky neokon\u0161truktivizmus 1930 \u2013 2000, Moskovsk\u00e9 m\u00fazeum s\u00fa\u010dasn\u00e9ho umenia, Moskva\r\nDie neue tendenzen eine Europaische  kunstler bewegung 1961 \u2013 1973, Museum fur    \r\nkonkrete kunst,  Ingolstadt\r\n\r\n2005\r\nFiloluce \u2013 Da balla a boeti, Da fontana a flavin, Museo della permanentne,Milano\r\nPra\u017esk\u00e9 bien\u00e1le 2, Karl\u00ednska prumyslov\u00e1 Hala, Praha\r\n\r\n2004\r\nEjhle sv\u011btlo\/Look Light, Moravsk\u00e1 galerie v Brn\u011b, Brno\r\n\r\n2002\r\nObjekt-objekt: Metamorf\u00f3zy v \u010dase, Pra\u017e\u00e1k\u016fv pal\u00e1c, Brno\r\n\r\n2001\r\nJi\u0159\u00ed Kol\u00e1\u0159 sb\u011bratel, Veletr\u017en\u00ed pal\u00e1c, Praha\r\n\r\n1999\r\nAkce, slovo, pohyb, prostor \u2013 experimenty v um\u011bn\u00ed \u0161edes\u00e1t\u00fdch let, M\u011bstsk\u00e1 knihovna Praha, Praha\r\n\r\n1995\r\nNov\u00e1 citlivost, Pra\u017e\u00e1k\u016fv pal\u00e1c, Brno\r\nZeit gen\u00f6ssiche Kunst aus den Europ\u00e4ischen osten (Sammlung J\u00fcrgen Weichardt) Landes \r\nMuseum Oldenburg\r\nPrekro\u010denie hran\u00edc (1964\u20131971), Pova\u017esk\u00e1 gal\u00e9ria, \u017dilina\r\n\u0160es\u0165desiate roky v slovenskom v\u00fdtvarnom umen\u00ed, Slovensk\u00e1 n\u00e1rodn\u00e1 gal\u00e9ria, Bratislava\r\nPortfolio protagonistov. 55 protagonistov kon\u0161trukt\u00edvneho umenia, \u013dub\u013eana\r\n\r\n1994\r\nS\u00fa\u010dasn\u00e1 slovensk\u00e1 grafika, Budape\u0161\u0165\r\nZwischen Zeit und Raum I. (Tendenzen Mitteleurop\u00e4ischer Kunst \u2013 in den 60er bis 80er \r\nJahren, Teil I., Konstruktiv), Galerie Schoppenhauer, Kol\u00edn\r\nZrcadlen\u00ed, Galerie R, Praha\r\nNov\u00e1 citlivost, Galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed, Litom\u011b\u0159ice\r\nN\u00e1\u0161 kinetizmus 60. let, Galerie \u201860\/\u201970, Praha\r\nRozpam\u00e4t\u00e1vanie, Gal\u00e9ria mesta Bratislavy, Mirbachov pal\u00e1c, Bratislava\r\nNov\u00e1 citlivost, Moravsk\u00e1 galerie Brno, Olomouc\r\n\r\n1993\r\nPoesie racionality, Vald\u0161tejnsk\u00e1 j\u00edzd\u00e1rna, Praha\r\n\r\n1992\r\nSvetov\u00e1 v\u00fdstava EXPO \u201892, Sevilla\r\nKassak \u2013 Homage a Lajos Kassak 100, SNG, Bratislava\r\nWegzeichen\/Zeitgen\u00f6ssische Slowakische Kunst, Osteurop\u00e4isches Kulturzentrum, Kol\u00edn\r\nZwischen Objekt und Installation \/ Slowakische Kunst der Gegenwart, Museum am Ostwall, \r\nDortmund, 1993\r\nElektr\u00e1re\u0148 T, Tatransk\u00e1 gal\u00e9ria, Poprad\r\nM\u00fazeum modern\u00e9ho umenia rodiny Warholovcov, Medzilaborce\r\nPriestor \u201893, 13. ro\u010dn\u00edk v\u00fdstavy Socha pie\u0161\u0165ansk\u00fdch parkov, Pie\u0161\u0165any\r\nS\u00fa\u010dasn\u00e1 slovensk\u00e1 grafika\r\n\r\n1991\r\nSen o m\u00fazeu, Pova\u017esk\u00e1 gal\u00e9ria, \u017dilina, Moravsk\u00e1 gal\u00e9ria, Brno\r\nSlovensk\u00e9 v\u00fdtvarn\u00e9 umenie a hudba, Gal\u00e9ria J\u00faliusa L\u00f6rincza, Dunajsk\u00e1 Streda\r\nIn\u00e1 geometria, Gal\u00e9ria Gerulata, Bratislava\r\nJin\u00e1 geometrie, M\u00e1nes, Praha\r\nS\u00fa\u010dasn\u00e9 slovensk\u00e9 v\u00fdtvarn\u00e9 umenie, Eur\u00f3psky kult\u00farny klub na Slovensku, Bardejov\r\nH\u00fdba\u010de, Gal\u00e9ria Gerulata, Bratislava, V\u00fdchodoslovensk\u00e1 gal\u00e9ria, Ko\u0161ice\r\n\u010clensk\u00e1 v\u00fdstava sdru\u017een\u00ed Q, Dom umenia, Brno\r\nKinetick\u00e9 variabiln\u00ed um\u011bn\u00ed, N\u00e1rodn\u00ed technick\u00e9 muzeum, Praha\r\n\r\n1990\r\nKonstruktivn\u00ed tendence \u0161edes\u00e1t\u00fdch let, St\u0159edo\u010desk\u00e1 galerie, Praha\r\nPocta um\u011blc\u016f Jind\u0159ichu Chalupeck\u00e9mu, M\u011bstsk\u00e1 knihovna Praha, Praha\r\n\r\n1983\r\nMonument\u00e1ln\u00ed tvorba na Slovensku, Dom kult\u00fary, Bratislava\r\n\r\n1980\r\nDie Kunst Osteuropas im 20. Jahrhundert, Garmisch-Partenkirchen\r\n\r\n1970\r\nSocha pie\u0161\u0165ansk\u00fdch parkov, Pie\u0161\u0165any\r\n\r\n1969\r\nArte contemporanea in Cecoslovacchia, Galleria Nazionale d\u2019Arte Moderna e Contemporanea, \u0158\u00edm\r\nBienal de S\u00e3o Paulo, S\u00e3o Paulo\r\n\r\n1968\r\nNov\u00e1 citlivost. K\u0159i\u017eovatka a host\u00e9, M\u00e1nes, Praha\r\nKonstruktive Tendenzen aus der Tschechoslowakei, Altstadtmuseum Fembohaus, N\u00fcrnberg\r\n\r\n1967\r\nMostra d\u2019Arte contemporanea cecoslovacca, Castello del Valentino, Tur\u00edn\r\n\r\n1963\r\nS\u00fa\u010dasn\u00e9 slovensk\u00e9 v\u00fdtvarn\u00e9 umenie, J\u00edzd\u00e1rna Pra\u017esk\u00e9ho hradu, Praha\r\n\r\n1958\r\nUm\u011bn\u00ed mlad\u00fdch v\u00fdtvarn\u00edk\u016f \u010ceskoslovenska 1958. Obrazy a plastiky, D\u016fm um\u011bn\u00ed m\u011bsta Brna, Brno","realizations_other":"","collections":"<span style=\"font-size:10.0pt; font-family:&quot;Arial&quot;,&quot;sans-serif&quot;\">Gal\u00e9ria m\u011bsta Bratislavy<\/span> <span style=\"font-size:10.0pt; font-family:&quot;Arial&quot;,&quot;sans-serif&quot;\"> Galerie Benedikta Rejta<\/span> <span style=\"font-size:10.0pt; font-family:&quot;Arial&quot;,&quot;sans-serif&quot;\">Hudson River Museum<\/span> <span style=\"font-size:10.0pt; font-family:&quot;Arial&quot;,&quot;sans-serif&quot;\">Museo de Arte Moderno de Buenos Aires<\/span> <span style=\"font-size:10.0pt; font-family:&quot;Arial&quot;,&quot;sans-serif&quot;\">Museum Folkwang<\/span> <span style=\"font-size:10.0pt; font-family:&quot;Arial&quot;,&quot;sans-serif&quot;\">N\u00e1rodn\u00ed galerie v&nbsp;Praze<\/span> <span style=\"font-size:10.0pt; font-family:&quot;Arial&quot;,&quot;sans-serif&quot;\">Slovensk\u00e1 n\u00e1rodn\u00e1 gal\u00e9ria<\/span>","monographies":"Milan Dobe\u0161, ed.: Jozef Ruttkay, Bratislava 1994 MAURERY M.: Milan Dobe\u0161: Medzi pohybom a&nbsp;svetlom, magistersk\u00e1 diplomov\u00e1 pr\u00e1ce, Masarykova Univerzita, Brno 2016 J\u00daZA J.: Milan Dobe\u0161: Pulsing emotions, katalog v\u00fdstavy, Ostrava 2009 HLAV\u00c1\u010cEK J.: Neokonstruktivismus a&nbsp;kinetismus, in: \u010cesk\u00e9 d\u011bjiny v\u00fdtvarn\u00e9ho um\u011bn\u00ed IV\/1, 1958\u20132000, Praha 2007, 207\u2013220 HAVR\u00c1NEK V.: Kinetick\u00e9 um\u011bn\u00ed, in: Akce, slovo, pohyb, prostor: experimenty v&nbsp;um\u011bn\u00ed \u0161edes\u00e1t\u00fdch let, GHMP, Praha 1999, str. 64&nbsp;\u2013 111 HLAV\u00c1\u010cEK J.: Poezie racionality, \u010cesk\u00e9 muzeum v\u00fdtvarn\u00e9ho um\u011bn\u00ed, Praha 1993 HLAV\u00c1\u010cEK J.: Jin\u00e1 geometrie, katalog v\u00fdstavy, M\u00e1nes, Praha 1991 PADRTA J.: Nov\u00e1 citlivost, katalog v\u00fdstavy, M\u00e1nes, Praha 1968","articles":"KLIVAR M.: Kinetick\u00e9 um\u011bn\u00ed v&nbsp;architektu\u0159e, in: \u010ceskoslovensk\u00fd architekt, 1990, \u010d. 2, s. 8  KOSTROV\u00c1 Z.: Rozhovor s&nbsp;Milanem Dobe\u0161em o Bien\u00e1le soch\u00e1rstva ve volnej pr\u00edrode v&nbsp;Montevideu, in: V\u00fdtvarn\u00e1 pr\u00e1ce, 1979, \u010d. 25\u201326, str. 1, 6 KONE\u010cN\u00dd D.: K&nbsp;sou\u010dasn\u00e9mu stavu a perspektiv\u00e1m kinetismu a um\u011bn\u00ed nov\u00e9 reality u n\u00e1s, in: Acta scaenographica VI, 1966, \u010d. 11, s. 219 \u2013 220. CHALUPECK\u00dd J.: Milan Dobe\u0161, in: V\u00fdtvarn\u00e1 pr\u00e1ce XIV, 1966, \u010d. 16, s. 5","reviews":"","texts_unlisted":"O dynamick\u00e9m konstruktivismu, 1988 Sv\u011btlo jako v\u00fdtvarn\u00fd materi\u00e1l, 1973 O sv\u011btle a pohybu, 1961","annotations":[{"text":"The Slovak artist Milan Dobe\u0161 is one of the most prominent representatives of the constructivist tendencies that were most apparent on the Czechoslovak art scene during the 1960s. Like other creators of objects from the generation of artists born in the 1920s, e.g. Karel Malich and Radoslav Kratina, Dobe\u0161 did not receive a classical training in sculpture. He studied figural and landscape painting at the Academy of Fine Arts in Bratislava. In his early, impressionistic landscapes and urban scenes we see his fascination with light and dynamic forms. During the 1950s he experimented with other spheres as well. In addition to the project <i>Polymuzick\u00fd prostor \/ Polymusical Space<\/i> at Divadlo vid\u011bn\u00ed (Theatre of Vision) he worked as stage designer and dancer in the experimental dance group Vysoko\u0161kolsk\u00fd um\u011bleck\u00fd soubor (University Art Ensemble).\r\nAt the end of the 1950s, under the influence of Expo 58 in Brussels, Dobe\u0161 re-assessed his work to date and began to move slowly in the direction of geometric abstraction. At first he created geometric drawings, graphics and prints, in which the basic element was a circle and its segments, and this became the main feature of his later work. In the early sixties he finally turned his back on painting in favour of kinetic objects in the series&nbsp;<i>Vizu\u00e1ln\u00edch objekt\u016f a&nbsp;mobil\u016f \/ Visual Objects and Mobiles<\/i>. His objects used either an external lights source, as in the series <i>Pulsuj\u00edc\u00ed rytmy \/ Pulsating Rhythms,<\/i>&nbsp;or light was an integral part, e.g. the project <i>Maj\u00e1ky \/ Lighthouses<\/i>. He set forth his aesthetic in a manifesto from 1961&nbsp;entitled <i>O&nbsp;sv\u011btle a pohybu \/ On Light and Movement<\/i>. The title makes it clear which elements he now regarded as pivotal.\r\nUnlike Czech representatives of constructivist tendencies, Dobe\u0161\u2019s approach was characterised by the inclusion of technical elements such as electrical motors, light bulbs and above all convex and concave mirrors. The use of reflection is reminiscent of the work of Hugo Demartini, whose objects never transcended the threshold of stability and whose movement remained only imaginary, introduced by means of the reflection and movement of the people in front of it. During the latter half of the sixties constructivism became one of the main directions in Czech art. The exhibition<i> Nov\u00e1 citlivost \/ New Sensitivity<\/i>&nbsp;of 1968, at which Dobe\u0161 was represented, was a kind of synthesis of variations upon constructivism. A&nbsp;feature of this&nbsp;new sensitivity&nbsp;was an admiration for technology and a neo-humanism, which turned away from nature and applied an individual style. Dobe\u0161 was something of an outlier at the exhibition, mainly because technique arose of its own accord in his works. In the exhibition catalogue he wrote: \u201cTechnique and science offer people the opportunity to avail themselves of more time to devote to themselves, philosophy and art. Civilisation helps put aside the spectacles of ingrained thinking and understanding in three-dimensionality.\u201d\r\nBy involving the fourth dimension, i.e. movement, in his objects, Dobe\u0161 moved closer to events taking place on the global art scene, in which kinetic art was combined with op-art (as in the work of Julio Le Parc and Jes\u00fas Rafael Sot). In addition to spatial works, drawings and silk-screen graphics were an important part of his work during this period, creating optical illusions and the semblance of movement through geometric composition. This gave rise to objects characterised by rotary movement drawing on the primary colours, e.g. <i>Kruhy a sv\u011btlo \/ Circles and Light<\/i>&nbsp;(1967) or&nbsp;<i>Barevn\u00e1 rytmick\u00e1 sv\u011btla \/ Coloured Rhythmical Light<\/i>&nbsp;(1965). Dobe\u0161 was soon receiving international recognition, and this was aided by the Prague exhibition <i>Vizu\u00e1ln\u00ed a kinetick\u00e9 objekty \/ Visual and Kinetic Objects<\/i>&nbsp;of 1966. In the following years he participated at several international exhibitions, the most important being 4. dokumenta in 1968 and EXPO&nbsp;70 in Osaka, where he exhibited the object&nbsp;<i>Hra sv\u011btla a tvar\u016f \/ The Play of Light and Shapes<\/i>.\r\nDobe\u0161 made the most of technical possibilities and in the 1970s returned to art and theatre in a kinetic performance of <i>Polymuzick\u00fd prostor<\/i> in Pie\u0161\u0165any in 1970. In the same year and place he created the object <i>Kinetick\u00e1 v\u011b\u017e \/ Kinetic Tower<\/i>, which was moved by wind in the manner of Alexander Calder. During the seventies, at the start of the normalisation period, Dobe\u0161 was able to travel to the USA, where in 1971 he toured with the American Wind Symphony Orchestra and accompanied his light-kinetic programme with symphonic works by Toshiro Mayuzumi and Krysztof Penderecki.\r\nIn 1973 he set forth his aesthetic programme in a text entitled <i>Sv\u011btlo jako v\u00fdtvarn\u00fd materi\u00e1l \/ Light as a Creative Material<\/i>. Given the huge restrictions placed on exhibiting at this time, he devoted himself to more intimate sculptures, optical graphics and collages. From the end of the sixties he had also had the opportunity to create monuments, something he did mainly for towns and cities in Slovakia. True to their creator\u2019s admiration for technology, these objects were made of glass, plastic or metal. The most important include the kinetic object in Montevideo (1969), the light-kinetic object in the building of the Czechoslovak Embassy in Stockholm (1972), and the optical relief in the entrance hall of the Czechoslovak Science and Technology Societies in Bratislava (1979).\r\nDuring the 1980s he continued to develop his creative principles, for instance in the series <i>Opticko-kinetick\u00fdch objekt\u016f \/ Optical-Kinetic Objects<\/i>. He also worked on graphics, where the main role was again taken by the circle and variations thereon, e.g. <i>Pohyb struktur \/ The Movement of Structures<\/i>&nbsp;(1986). In 1988 he wrote his second artistic manifesto entitled <i>Dynamick\u00fd konstruktivismus \/ Dynamic Constructivism<\/i>, in which he writes: \u201cMovement is the basic condition of the existence of everything. Movement is life. To depict movement is to depict life.\u201d&nbsp; \r\nIn 2001 the Milan Dobe\u0161 Museum was founded, which houses not only works by Dobe\u0161 but also by those close to him in the spirit of constructivism and op-art, such as Victor Vasarely, Karel Malich and Radoslav Kratina. In 2016 a Milan Dobe\u0161 Museum was opened in Ostrava, at which the artist himself participated.","date":2018,"authors":[1902]}],"artworks":[118154,118155,118156,118157,118158,118159,118160,118161,118162,118163,118164,118165,118166,118167,118168],"videos":null},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Dobe\u0161 - 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\/milan-dobes\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Dobe\u0161 - Artlist\" \/>\n<meta property=\"og:url\" content=\"https:\/\/artlist.cz\/en\/umelci\/milan-dobes\/\" \/>\n<meta property=\"og:site_name\" content=\"Artlist\" \/>\n<meta property=\"article:modified_time\" content=\"2025-01-07T17:13:55+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\\\/milan-dobes\\\/\",\"url\":\"https:\\\/\\\/artlist.cz\\\/en\\\/umelci\\\/milan-dobes\\\/\",\"name\":\"Dobe\u0161 - 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