{"id":122091,"date":"2024-07-10T23:06:15","date_gmt":"2024-07-10T21:06:15","guid":{"rendered":"http:devel.artlist.cz\/artist\/hanvald-2\/"},"modified":"2025-01-07T18:13:50","modified_gmt":"2025-01-07T17:13:50","slug":"david-hanvald","status":"publish","type":"artist","link":"https:\/\/artlist.cz\/en\/umelci\/david-hanvald\/","title":{"rendered":"Hanvald"},"featured_media":0,"template":"","class_list":["post-122091","artist","type-artist","status-publish","hentry","keyword-asamblaz","keyword-assemblage","keyword-malba","keyword-objekt"],"acf":{"nicknames":"","date_born":1980,"date_death":0,"place_born":"Liberec","lives":"Liberec, Prague","web":"www.davidhanvald.com","idatum":"","address":"","email":"davidhanvald@seznam.cz","phone":"722 921 838","biography":"2003\u20132009 \r\nAcademy of Applied Arts in Prague, at.malby Doc. Stanislav Divis and MgA. Aldina Popa\r\n\r\n<br \/> 2001\u20132002\r\n TU Liberec\r\n\r\n<br \/> 2000\u20132001\r\n FVU, \u00dast\u00ed nad Labem\r\n\r\n<br \/> 1996\u20132000\r\nSchool of Applied Arts in Jablonec nad Nisou\r\n\r\n<br \/> <b>symposium:<\/b>\r\n\r\n<br \/> 2012\r\n1st Symposium Litomy\u0161l (Young Stars) Litomy\u0161l<br \/> \r\n19th Fine symposium Mikulov, Mikulov\r\n\r\n<br \/> 2009\r\n2nd Symposium Kvilda\r\n\r\n<br \/> 2005\r\n5th Symposium of contemporary art, Kutn\u00e1 Hora\r\n6th International Symposium of art academies, Klatovy \/","groups":null,"membership":"Obr. (Josef Achrer, David Hanvald, Martin Krajc, Karel \u0160t\u011bdr\u00fd; zal. 2006) CLAN (Stanislav Divi\u0161, David Hanvald, Karel \u0160t\u011bdr\u00fd, Aldin Popaja; zal. 2010)","exhibitions_solo":"2015<br \/>\r\nT\u00e1hni \u0161t\u011btkou!, Galerie Petr Novotn\u00fd, Praha<br \/><br \/>\r\n\r\n2014<br \/>\r\nRukopis p\u0159evz\u00edt nejde!, Galerie Dole, Ostrava<br \/>\r\n\r\nDo prdele, to je kr\u00e1sa!, Galerii Die Aktualit\u00e4t des Sch\u00f6nen, Liberec<br \/><br \/>\r\n\r\n2013<br \/>\r\nKdy\u017e m\u00e1 n\u011bco vypadat dob\u0159e, tak to dob\u0159e vypad\u00e1, GASK, Kutn\u00e1 Hora<br \/>\r\n\r\nAkryl, pl\u00e1tno, Hanvald galerie NOD Roxy, Praha<br \/><br \/>\r\n\r\n2012<br \/>\r\nDie Konstruktion, Berl\u00ednskej model, Praha<br \/>\r\n\r\nDer echte Hanvald, Galerie \u010cesk\u00e9 poji\u0161tovny, Praha<br \/>\r\n\r\nhanvaldkunst, galerie Petr Novotn\u00fd, Praha<br \/>\r\n\r\nThe Brick, galerie SPZ, Praha<br \/><br \/>\r\n\r\n2011<br \/>\r\nKunst \u2013 historie, Collection etY, Praha<br \/>\r\n\r\nhanvaldkunst, galerie ad-astra, Ku\u0159im<br \/>\r\n\r\nUpgrade \u2013 Od Louis Kahna k Sol LeWittovi, Bruce Naumana nevyj\u00edmaje, D\u016fm um\u011bn\u00ed \u010cB, \u010cesk\u00e9 Bud\u011bjovice<br \/><br \/>\r\n\r\n2010<br \/>\r\n\u0158\u00e1dn\u00e1 malba, Galerie Caesar, Olomouc (s K. \u0160t\u011bdr\u00fdm)<br \/>\r\n\r\nSyst\u00e9m, konstrukce, \u0159\u00e1d, Richard Adam Gallery, Galerie Za st\u011bnou, Brno<br \/><br \/>\r\n\r\n2008<br \/>\r\nKl\u00ed\u010dov\u00e9 krajiny, Galerie GFJ, Kutn\u00e1 Hora<br \/><br \/>","exhibitions_group":"2015<br \/>\r\nOd obrazu k objektu, Galerie Gagarinka, Bratislava (SK)\r\n\r\nOd podlahy, Galerie Emila Filly, \u00dast\u00ed nad Labem; Cargo, Galerii Die Aktualit\u00e4t des Sch\u00f6nen, Liberec<br \/><br \/>\r\n\r\n2014<br \/>\r\nZlat\u00fd v\u011bk \u2013 Reminiscence kubismu v sou\u010dasn\u00e9m um\u011bn\u00ed, D\u016fm um\u011bn\u00ed, Brno<br \/>\r\n\r\nZ\u00e1\u0159iv\u00fd krystal \u2013 Pr\u016fniky, st\u0159ety, p\u0159esahy, GVU v Ostrav\u011b, Ostrava<br \/><br \/>\r\n\r\n2013<br \/>\r\nKostlivec v rajsk\u00e9 om\u00e1\u010dce, Richard Adam Gallery, Brno<br \/>\r\n\r\nObrys, D\u016fm um\u011bn\u00ed, Brno<br \/><br \/>\r\n\r\n2012<br \/>\r\nMetaplay. Galerie Kritik\u016f, Praha<br \/>\r\n\r\nCitace a interpretace II. \u2013 malba, Galerie NOD Roxy, Praha<br \/>\r\n\r\nZahrady malby - sou\u010dasn\u00e1 \u010desk\u00e1 malba ze sb\u00edrek Richard Adam Gallery v Brn\u011b, Galerie P. M. Boh\u00fana, Liptovsk\u00fd Mikul\u00e1\u0161<br \/><br \/>\r\n\r\n2011<br \/>\r\n\u010cesk\u00e1 malba generace nult\u00fdch let 21. stolet\u00ed, Richard Adam Gallery, Brno<br \/>\r\n\r\nZti\u0161eno, Richard Adam Gallery, Brno<br \/>\r\n\r\nObr., galerie NOD ROXY, Praha<br \/><br \/>\r\n\r\n2009<br \/>\r\nObr. Krychle, Kl\u00e1rov, Praha<br \/>Start point, Galerie Klatovy \/ Klenov\u00e1<br \/>\r\n\r\nV. Zl\u00ednsk\u00fd salon mlad\u00fdch, D\u016fm um\u011bn\u00ed ve Zl\u00edn\u011b<br \/>\r\n\r\nObr. na p\u00edsku, Tranzit dielne \/ Workshops \/ SK, Bratislava (SK)<br \/><br \/>\r\n\r\n2008<br \/>\r\nObr. , Galerie M\u00e1nes, Praha<br \/>CZ \u2013 SK, Richard Adam Gallery, Brno<br \/><br \/>\r\n\r\n2007<br \/>\r\nObr. v Louvru, Praha - ofici\u00e1ln\u00ed zalo\u017een\u00ed v\u00fdtvarn\u00e9 skupiny Obr.<br \/>\r\n\r\nDesignblok 07, Praha<br \/><br \/>\r\n\r\n2006<br \/>\r\nTrafa\u010dka, Tov\u00e1rn\u00ed hala Trafa\u010dka, Praha<br \/>M\u011bsto, galerie AVU, Praha<br \/><br \/>\r\n\r\n2005<br \/>\r\nContacts, galerie Klatovy\/Klenov\u00e1 s\u00fdpka<br \/>V\u011bcne hladn\u00ed, Haly Studen\u00e1 ( tranzit ), Bratislava (SK).<br \/><br \/>","realizations_other":"2005 realizace n\u00e1st\u011bnn\u00e9 malby podle n\u00e1vrhu Zde\u0148ka S\u00fdkory,<br \/>Mezin\u00e1rodn\u00ed st\u0159edisko letov\u00e9ho prostoru v Jen\u010di<br \/><br \/>","collections":"Oblastn\u00ed galerie Liberec <br \/>Galerie FJ. m\u011bsta Kutn\u00e9 Hory <br \/>Richard Adam Gallery (Wannieck gallery) <br \/>Galerie Klatovy \/ Klenov\u00e1 <br \/>Soukrom\u00e9 sb\u00edrky v \u010cR, AU, DE","monographies":"Obr.: [Josef Achrer, David Hanvald, Martin Krajc, Karel \u0160t\u011bdr\u00fd. [Praha]: KANT, 2012. [96] s. ISBN 978-80-7437-046-5. <br \/>CLAN a TU\u010cKOV\u00c1, Kate\u0159ina. Clan: Divi\u0161, Hanvald, Popaja, \u0160t\u011bdr\u00fd: 2.12.2010-9.1.2011, V\u00fdstavn\u00ed s\u00ed\u0148 Chrudim v Divadle Karla Pippicha. Chrudim: Chrudimsk\u00e1 beseda, 2010. [32] s. <br \/>GALERIE CAESAR a DOST\u00c1L, Martin. David Hanvald, Karel \u0160t\u011bdr\u00fd: \u0159\u00e1dn\u00e1 malba. Olomouc: Galerie Caesar, 2010. [7 s.]. <br \/>HANVALD, David. David [Hanvald]. [Praha]: Arskontakt, 2009. 79 s. ISBN 978-80-904288-2-9.","articles":"TU\u010cKOV\u00c1, Kate\u0159ina. Malba v rozmez\u00ed CZ - SK. Art+Antiques, prosinec 2008.<br \/>TU\u010cKOV\u00c1, Kate\u0159ina. David Hanvald. Art+Antiques, \u010dervenec-srpen 2008.<br \/>SL\u00c1DKOV\u00c1, Hana. Jak se pe\u010de obr.?. A2. \u010d.19 \/ 2007.<br \/><br \/>","reviews":"","texts_unlisted":"","annotations":[{"text":"David Hanvald is a painter whose work evolves in logically connected cycles that develop relatively fixed principles and a creative logic in a variety of ways that he discovered for himself in the Stanislav Divi\u0161 studio at the Academy of Arts, Architecture and Design. Hanvald\u2019s work tends to be systematic and rational in its approach to the construction of images and the investigation of the possibilities of painting. His pieces are based on a painterly reinterpretation of modernist creative forms (be this painting, object, event, photograph or typography) and a grasp of everyday objets trouves in these media. However, although his painting relates to El Lissitzky or a children\u2019s playkit, there is a great deal of ambivalence ensuing from the process of analysis and a method of treatment that is never completely closed. Hanvald\u2019s works are often balanced on the boundary between visual flatness and spaciousness, geometric forms and expressive painterly gestures, abstraction and depiction, conceptual and sensual.\r\n\r\nConsiderations regarding the properties of painting are clearly based on the tradition of modernism, whose task as the supposed apogee in the evolution of creative forms was to find the specificity of media, at least according to the well known theory of Clement Greenberg and his supporters. The development of art in the 20<sup>th<\/sup> century was characterised by a certain amount of newly acquired autonomy and self-referentiality associated with it: creative forms now \u2013 though not always and only to a certain extent \u2013 developed in accordance with their own laws and reacted one to the other. Hanvald\u2019s work continues in this tradition though understandably absorbs the \u201cinnovations\u201d of postmodernism, such as the explicit appropriation of the works of older artists, the inconsistencies referred to already, the ludic quality, and the willingness to leave things open ended. If we speak of Hanvald\u2019s work as being an example of neo-modernism, as Martin Dost\u00e1l, the painters\u2019 court theoretician coins the term, we do not mean the slavish following of modes, strategies and opinions, but the free thinking about theoretical findings and their formal manifestation in the work of modernist artists [see for instance Martin Dost\u00e1l, Upgrade \u2013 From Louis Kahn to Sol LeWitt Bruce Nauman nevyj\u00edmaje,&nbsp;<i>davidhanvald.com<\/i>, 2011,&nbsp;<a target=\"_blank\" href=\"http:\/\/www.davidhanvald.com\/2011%20Upgrade%20Od%20Louis%20Kahna.html\">http:\/\/www.davidhanvald.com\/2011%20Upgrade%20Od%20Louis%20Kahna.html<\/a>, referenced 2 June 2015.]. Reflections on modernism are a strong tendency in contemporary, not only Czech, art. In this sense we could place Hanvald\u2019s work alongside that of artists from his closest circles, i.e. other members of the Obr group (Josef Achrer, Martin Krajc and Karel \u0160t\u011bdr\u00fd), as well as artists such as (to pluck names at random) Vladim\u00edr Houdek, Alice Nikitinov\u00e1, Josef Mlad\u011bjovsk\u00fd, Ev\u017een \u0160imera and Vasil Artamonov and Alexej Klyukov, who all, albeit in their own way, represent the legacy of modernism.\r\n\r\nThe works of renowned artists that nowadays form the canon of modern art serve &nbsp;Hanvald as the starting point for a dialogue with the creative forms of the past, as well as for a composition of the image almost completely independent of its predecessors. In this respect Martin Dost\u00e1l speaks of <i>deconstruction and construction<\/i> as being the fundamental method of Hanvald\u2019s oeuvre [see for instance Martin Dost\u00e1l, Fuck, that\u2019s beautiful!,&nbsp;<i>davidhanvald.com<\/i>, 2014, <a target=\"_blank\" href=\"http:\/\/www.davidhanvald.com\/2014%20Do%20prdele%20to%20je%20krasa.html\">http:\/\/www.davidhanvald.com\/2014%20Do%20prdele%20to%20je%20krasa.html<\/a>, referenced 2 June 2015.]. And yet in the process of deconstruction modernist works lose their original ethos: a visionary or spiritualistic accent typical for modernism. This principle is already visible in Hanvald\u2019s graduate work, the series <i>Syst\u00e9m, konstrukce, \u0159\u00e1d \/ System, Construction, Order&nbsp;<\/i>(2008\u20132009), which draws on the architectural designs of Louis Kahn. In this cycle his characteristic style is crystallised with self-assured, strong brushstrokes and expressive colours that in this case are in contrast to the strict rationality of the model. A tension reigns between the surface and space: the gestural quality of the painting and the emphasis on its abstract quality are confirmed by the two-dimensional canvas, while the overall composition defies this and evokes the illusion of three dimensions. Hanvald develops this investigation in the series <i>Objekty \/ Objects &nbsp;<\/i>(2009\u20132010) and&nbsp;<i>\u017didle \/ Chairs&nbsp;<\/i>(2010\u20132011). In the first he introduces the minimalist objects of Sol LeWitt&nbsp; and Donald Judd into paintings. In the second, inspired by <i>A Cast of the Space under my Chair<\/i> by Bruce Nauman, he constructs another famous chair designed by Marcel Breuer or Josef Hoffman, whose fixed form is completely absorbed by an almost ornamental, colourful geometric form created with firm, emphatic brush strokes. Both the chairs and objects represent for Hanvald an opportunity for formal experiments that can then serve the informed viewer as a starting point for interpretation and an understanding of the artist\u2019s methods and intentions. At present David Hanvald is playing with historical styles and his pictures are at the same time an affirmation and negation and mockery of gestural painting, minimalism or post-painterly abstraction. However, a knowledge of art history is not a prerequisite for viewing and appreciating Hanvald\u2019s works and several of his cycles do not work with specific prototypes. In the series <i>Stavebnice \/ Construction Set<\/i>&nbsp;(2008)<i>, Kostky \/ Building Blocks&nbsp;<\/i>(2009), and&nbsp;<i>Lidov\u00e1 dovednost \/ Human Skill <\/i>(2014) the artist uses objets trouves, while in the cycles <i>Tahy<\/i>&nbsp;\/ <i>Moves<\/i> (2009) and&nbsp;<i>Monochromy \/ Monochromes&nbsp;<\/i>(2014) he isolates the basic painterly techniques: brush stroke and intensity of colour.\r\n\r\nIn other works spaciousness plays a crucial role. In the series <i>R\u00e1my \/ Frames<\/i>&nbsp;(2009\u20132014), responding to the work of Sigmar Polke, Hanvald accentuates the auxiliary structure of the (blind) frames, while in the series&nbsp;<i>Kunsthistorie \/ Art History&nbsp;<\/i>(2011) he creates layered suspended objects from individual canvases. Such reflections on the materiality and objectiveness of a painting are relatively common on the contemporary art scene. Like Hanvald in the assemblages in the cycle <i>Art History<\/i>, Samuel Pau\u010do has been using and emphasising the sides of the canvas in his recent works, while Eva \u0160krovinov\u00e1 works with the frame as an independent semantic element. The occasional selection of unusual shapes for his canvases, personal, locally specific installation venues, or direct overlaps from painting to installation as a medium (e.g. the exhibition<i> Die Konstruktion<\/i>&nbsp;in Berlin Model in Prague, 2012) demonstrate Hanvald\u2019s interest in the spatial character of painting.\r\n\r\nTypography, especially the book covers by Karel Teige, was subject to reinterpretation. Hanvald abstracts his models while retaining the basic organisational space and thus evokes the aesthetic qualities of coloured surfaces and a specific graphic classification. One could argue that in these works he enters into dialogue with American neo-Dadaism and geometric abstraction, since like Jasper Johns, Kenneth Noland and Ellsworth Kelly, Hanvald goes to the very limits of that which can be depicted before being refracted into purely abstract composition. This residue of the prototype (not necessarily a real object) is retained, as does its highly inconsistent reflection. If in the case of typography Hanvald isolates the method of composing colour surfaces, when being inspired by Czech modernist photography (Jarom\u00edr Funke, Josef Sudek, etc.), in the cycle&nbsp;<i>30. L\u00e9ta \/ The Thirties&nbsp;<\/i>(2013) the theme of his painting is light and shade and their interplay. He selects yet another element, this time an expressive line, from the works of V\u00e1clav \u0160p\u00e1la for the cycle <i>Modern\u00ed modernita \/ Modern Modernity&nbsp;<\/i>(2014).\r\n\r\nAlthough Hanvald draws on a wide range of inspiration that he quotes to some degree or other in his works, he always handles his derived motifs, shapes, compositions or styles with a great deal of invention, transforming them into his own characteristic means of expression, one which is instantly recognisable, intelligible and aesthetically appealing.","date":2015,"authors":[1894]}],"artworks":[115180,115181,115182,115183,115184,115185,115186,115187,115188,115189,115190,115191,115192,115193,115194,115195,115196,115197,115198,115199],"videos":null},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Hanvald - 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\/david-hanvald\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Hanvald - 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