{"id":121996,"date":"2024-07-10T23:05:24","date_gmt":"2024-07-10T21:05:24","guid":{"rendered":"http:devel.artlist.cz\/artist\/kozelka-2\/"},"modified":"2026-10-31T20:50:19","modified_gmt":"2026-10-31T19:50:19","slug":"milan-kozelka","status":"publish","type":"artist","link":"https:\/\/artlist.cz\/en\/umelci\/milan-kozelka\/","title":{"rendered":"Kozelka"},"featured_media":0,"template":"","class_list":["post-121996","artist","type-artist","status-publish","hentry","keyword-digital-image","keyword-land-art-en","keyword-performance-en","keyword-photography","keyword-political-art"],"acf":{"nicknames":"","date_born":1948,"date_death":2014,"place_born":"Kyselka u Karov\u00fdch Var\u016f","lives":"Prague","web":"","idatum":"","address":"","email":"gulu-gulu@seznam.cz","phone":"","biography":"Awards, scholarships, residencies\r\n2011 AiC Ond\u0159ejovice\r\n\r\n2010 nominations for The State Award for Literature\r\n4 nominanations for the Book of the Year Award, the Lidov\u00e9 noviny daily","groups":"","membership":"","exhibitions_solo":"2010\r\nPosledn\u00ed zvon\u011bn\u00ed - meeting Isl\u00e1msk\u00e9 strany virtu\u00e1ln\u00ed artokracie, Praha\r\nMuslimsk\u00e9 \u017eeny podporuj\u00ed pokrok, Praha\r\nKomunistick\u00e1 strana Vatik\u00e1nu je tu pro v\u00e1s!, Praha\r\n\r\n2006\r\nM\u00edtink isl\u00e1msk\u00e9 strany soci\u00e1ln\u00ed rovnodennosti, Boston\r\nM\u00edtink isl\u00e1msk\u00e9 strany soci\u00e1ln\u00ed rovnodennosti, New York\r\n\r\nod 1997\t\r\nP\u00e1rov\u00e9 multimedi\u00e1ln\u00ed performance se Sylvi\u00ed Milkovou\r\nV kruhu I-III (inspirov\u00e1no texty Milana N\u00e1pravn\u00edka)\r\nZenov\u00e9 nekrology I-II\r\nThanatea (inspirov\u00e1no b\u00e1snickou skladbou Ivana Divi\u0161e a androgynn\u00edm symbolem Khava indi\u00e1nsk\u00e9ho kmene Zuni)\t\r\nSt\u0159\u00eddav\u00e9 kalorie\r\nDennoc \u2013 nocden (inspirov\u00e1no \u010dty\u0159ver\u0161\u00edm Jana Sk\u00e1cela a osobn\u00edmi v\u00fdpov\u011bdmi)\r\nKikukikokape o vzniku vesm\u00edru a \u017eivota\r\nUluru (inspirov\u00e1no m\u00fdtem kmene Pind\u017eara o vziku Uluru)\r\nSt\u00e1l\u00e1 ko\u0159ist\r\nKr\u00e1tk\u00fd p\u0159\u00edb\u011bh\r\nKoho chleba j\u00ed\u0161, toho p\u00edse\u0148 zp\u00edvej\r\n\r\n1997 \t\r\nCarpe diem \u0171ber alles, Cheb, Permanentn\u00ed performance\r\nT\u0159in\u00e1ct, Cheb, Permanentn\u00ed performance\r\n\r\n1996\t\r\nOtev\u0159en\u00fd dopis karlovarsk\u00fdch horn\u00edk\u016f pracuj\u00edc\u00edmu lidu Ostravy, Ostrava, Malamut\r\n\r\n1988-1989\t\r\nHardcore performance (t\u0159ikr\u00e1t)\r\n\r\n1983-1985\t\r\nEko-reli\u00e9fy, okol\u00ed Karlov\u00fdch Var\u016f\r\n\r\n1983\t\r\nIzomorfn\u00ed kresby, okol\u00ed Karlov\u00fdch Var\u016f\r\nP\u011b\u0161\u00ed koncert\r\nRytmick\u00e9 posuvy I-IV, okol\u00ed Karlov\u00fdch Var\u016f\r\nPodzim, okol\u00ed Karlov\u00fdch Var\u016f\r\nPodzimn\u00ed koncert\r\nP\u0159\u00edrodn\u00ed partitury, okol\u00ed Karlov\u00fdch Var\u016f\r\n\r\n1982\t\r\nP\u016fdorysy, okol\u00ed Karlov\u00fdch Var\u016f\r\n\r\n1981\t\r\nZapad\u00e1n\u00ed list\u00edm, okol\u00ed Karlov\u00fdch Var\u016f\r\n\r\n1980\t\r\nKontakty (s hl\u00ednou)\r\n- Diagon\u00e1la\r\nPocta Darvinovi, \u0160umava\r\n\u010cten\u00ed v\u011bze\u0148sk\u00fdch dopis\u016f\r\nZapad\u00e1n\u00ed sn\u011bhem, Praha\r\n\r\n1979\t\r\nOb\u011btn\u00ed k\u00e1men, Olomouc\r\nSpylnut\u00ed\r\nKladen\u00ed kamen\u016f, \u0160umava\r\nKontakty s \u0159ekou Vydrou (1979-80), \u0160umava\r\n- Le\u017een\u00ed na Hamersk\u00e9m potoku\r\n- St\u00e1n\u00ed v pe\u0159ej\u00edch\r\n- Zav\u011b\u0161en\u00ed (pod LSD a norm\u00e1ln\u011b)\r\n- Ch\u016fze proti proudu (\u010dty\u0159ikr\u00e1t)\r\n- P\u0159ehrazen\u00ed\r\n- Zved\u00e1n\u00ed\r\n- S kulatinou v zubech\r\n\r\n1978\t\r\nOslava kamene, Olomouc\r\nProstory, okol\u00ed Karlov\u00fdch Var\u016f\r\nAk\u010dn\u00ed interpretace Pohybliv\u00fdch hrob\u016f M. Medka (dvakr\u00e1t), Olomouc\r\nKontakty (s kameny 1978-80)\r\n- Zav\u011b\u0161en\u00ed s kamenem (dvakr\u00e1t), Praha\r\n- Kontakt s kamenem na va\u0159i\u010di\r\n- Kontakt s va\u0159\u00edc\u00edm kamenem\r\n- Nesen\u00ed kamene (\u010dty\u0159ikr\u00e1t), Praha\r\n- Obna\u017eov\u00e1n\u00ed kamene (pocta M. Kn\u00ed\u017e\u00e1kovi)\r\n- Zmizen\u00ed, M\u00e1chovo jezero\r\n\r\n1974 \t\r\nV\u00edt\u00e1n\u00ed Jara, Olomouc\r\nPocta Benovi\r\n\r\n1973\t\r\nV\u00edt\u00e1n\u00ed Jara, Praha\r\n","exhibitions_group":"2013\r\nDoteky hudby, Severo\u010desk\u00e1 galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed v Litom\u011b\u0159ic\u00edch, Litom\u011b\u0159ice\r\n\r\n2011-2012\r\nLucifer\u016fv efekt \/ The Lucifer Effect, DOX, Velk\u00e1 hala + mezonet 1. patra, Praha\r\n(Prague)\r\n\r\n2011\r\n\u010c\u00ed je to m\u011bsto?, Karlin Studios, Praha (Prague)\r\nfestival Kv\u011bty zla, Praha\r\nT\u0159i mu\u0161ket\u00fdrky s Darinou Alster a Terezou Damcovou, Praha\r\n\r\n2009-2011\r\nI have no mouth - I must scream, Galerie Truhla, Praha 1 (Prague)\r\n\r\n2008-2009\r\nMilan Kozelka & Andrea Lexov\u00e1: Podvratn\u00e9 m\u00fdty, Galerie NoD, Praha\r\n(Prague)\r\n\r\n2008\r\nSlovem i obrazem, Galerie Vltav\u00edn, Masarykovo n\u00e1b\u0159e\u017e\u00ed, Praha\r\n\r\n2007\r\nTschechische Aktionskunst der 1960er bis 1990er Jahre \/ \u010cesk\u00e9 ak\u010dn\u00ed um\u011bn\u00ed 60. - 90. let, Tschechisches Zentrum Berlin (\u010cesk\u00e9 centrum Berl\u00edn), Berl\u00edn (Berlin) \r\n\r\n2003\r\nMinisalon, Centre tch\u00e8que Paris (\u010cesk\u00e9 centrum Pa\u0159\u00ed\u017e), Pa\u0159\u00ed\u017e (Paris)\r\n\r\n2002\r\nDivo\u010dina - p\u0159\u00edroda, du\u0161e, jazyk, Galerie Klatovy \/ Klenov\u00e1, Janovice nad \u00dahlavou \r\n\r\n1998\r\nMinisalon, Bibliotheque Royal de Belgique, Brusel (Bruxelles)\r\n\r\n1997\r\nUm\u011bn\u00ed zastaven\u00e9ho \u010dasu \/ Art when time stood still, \u010cesk\u00e1 v\u00fdtvarn\u00e1 sc\u00e9na 1969-1985, St\u00e1tn\u00ed galerie v\u00fdtvarn\u00e9ho um\u011bn\u00ed v Chebu, Cheb\r\nUm\u011bn\u00ed zastaven\u00e9ho \u010dasu \/ Art when time stood still, \u010cesk\u00e1 v\u00fdtvarn\u00e1 sc\u00e9na 1969-1985, Brno\r\n\r\n1996 \r\nSmrt bankovn\u00edho \u00fa\u0159edn\u00edka, Bankovn\u00ed \u00fa\u0159en\u00edk v l\u016fn\u011b undergroundu, Performance Art Festival Malamut, Ostrava\r\n\r\n1992\r\nFIT - Festival of intermedia creativity\t\r\n\r\n1988 Weise Harlekin (s M. Kozelka, V. Stratil), 1. experiment\u00e1n\u00ed um\u011blecko-liter\u00e1rn\u00ed festival, Nov\u00e9 Z\u00e1mky \r\n","realizations_other":"","collections":"","monographies":"Morganov\u00e1 Pavl\u00edna: Ak\u010dn\u00ed um\u011bn\u00ed, Olomouc 2009","articles":"","reviews":"http:\/\/www.youtube.com\/watch?v=3RkOhqDCahI \r\nhttp:\/\/www.youtube.com\/watch?v=WFNoBK8GdEU&feature=related \r\nhttp:\/\/blisty.cz\/art\/31868.html \r\n  \r\n","texts_unlisted":"","annotations":[{"text":"Milan Kozelka is among those artists understanding art\u2019s roles as a tool of social change. He clarifies his attitudes toward the state of society in straight-forward texts, performances and lectures on the link between art and power systems. In addition to his individual activities in the pre-revolution period, he initiated several unofficial exhibitions and established in Karlovy Vary in the early 1990s the alternative organization Artforum with which, during its temporary existence, he took part in carrying out literary festivals, author readings, lectures and concerts. He later worked as editor at the Votobia publishing house and established the Gulu-gulu publishing house shortly after 2000. He has regularly published since his first collection of poems They Hitch the Horses to the Slot Machines (Votobia, 1999).  \r\n\r\nHis work, both literary and performative, shares a common denominator of opposition.  Serving as a metaphor of his work could be one of his first performances Walking Upstream (1979) that he undertook in the \u0160umava Forest as a purgative manifesto after returning from prison. It contains formal elements of land art and body art, but does not lose a direct link to the nature of the performer. \r\n\r\nWalking Upstream (1979) is from the series of Kozelka\u2019s performances entitled Contacts with the Vydra River that he repeated two years in a row. The first of this series was Lying in the Hamersk\u00fd Brook. He spent a night lying on two logs with the current and felt its flow. His older performances have a simple concept and relation to nature. Similar performances consisted of Fusion (1979) when he stood for several hours pressed to a cliff in the wind and rain, or crawling across a field in Suchdol (winter 1980) before he became covered with snow and a year later in autumn with leaves.  Besides water and climatic conditions, he also worked with stone. This element appeared in his first happenings Welcoming Spring (1973 Prague, 1974 Olomouc) and between 1978 and 1980 the stone was a primary object of a number of performances he included under the title Contacts (with stones). He moved from happenings and body art performances with stone to concept art, and in 1982 and 1983 created in the forests of the Ore Mountains his stone \u201cGround Plans\u201d.\r\n\r\nAlong with his individual performance, his personal activities helped form Czech art of the 1970s. In 1978, he moved to Prague where he met with other artists (Petr \u0160tembera, Pavel B\u00fcchler, Ji\u0159\u00ed Kovanda, Vladim\u00edr Havl\u00edk, Tom\u00e1\u0161 Pet\u0159iv\u00fd, Robert Cyprich, J\u00e1n Budaj, Vladim\u00edr Havrilla) resulting in the plant to organize a symposium on a hop-field in Mut\u011bjovice, which he took part in the early 1980s.\r\n\r\nHe currently devotes himself primarily to literature and the digital archiving of international art. In addition to his own prose work, he created the anthology of literary texts of the Ostrava Region (In the Heart of the Black Spider, 2000), of Northern Bohemia (From the Shores to the Mountains, 2000) and of the Olomouc Region (Vertical Nostalgia, 2002). He is active on the art scene, taking part in author readings and continuing in performances that have transformed from the 1970s to the present day from natural meditative rituals to harsh, albeit humorous, social-political criticism.","date":2012,"authors":[1862]}],"artworks":[112050,112051,112052,112053,112054],"videos":""},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.0 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Kozelka - 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-kozelka\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Kozelka - Artlist\" \/>\n<meta property=\"og:url\" content=\"https:\/\/artlist.cz\/en\/umelci\/milan-kozelka\/\" \/>\n<meta property=\"og:site_name\" content=\"Artlist\" \/>\n<meta property=\"article:modified_time\" content=\"2026-10-31T19:50:19+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/artlist.cz\\\/en\\\/umelci\\\/milan-kozelka\\\/\",\"url\":\"https:\\\/\\\/artlist.cz\\\/en\\\/umelci\\\/milan-kozelka\\\/\",\"name\":\"Kozelka - 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