{"id":122145,"date":"2024-07-10T23:06:21","date_gmt":"2024-07-10T21:06:21","guid":{"rendered":"http:devel.artlist.cz\/artist\/svankmajer-2\/"},"modified":"2025-01-07T18:13:49","modified_gmt":"2025-01-07T17:13:49","slug":"jan-svankmajer","status":"publish","type":"artist","link":"https:\/\/artlist.cz\/en\/umelci\/jan-svankmajer\/","title":{"rendered":"\u0160vankmajer"},"featured_media":0,"template":"","class_list":["post-122145","artist","type-artist","status-publish","hentry","keyword-asamblaz","keyword-collage","keyword-film-pohyblivy-obraz","keyword-ilustrace","keyword-kolaz","keyword-kresba","keyword-objekt","keyword-socha"],"acf":{"nicknames":"","date_born":1934,"date_death":0,"place_born":"Prague","lives":"Prague, Horn\u00ed Sta\u0148kov","web":"www.athanor.cz","idatum":"","address":"","email":"jansvankmajer@seznam.cz","phone":"","biography":"<div>Studies:\r\n\r\n1954\u20131958\r\nstudying art creation \/ directing at the Department of Puppet Theatre, DAMU<\/div>\r\n<div><\/div>\r\n<div>1950\u20131954\r\nHigh School of Art Industry, Department of Stage Design<\/div>\r\n<div>AWARDS AND NOMINATIONS (selection):\r\n\r\n2010\r\nCzech Film Academy\r\nwon Czech Lion for the film Surviving Life for the Best Design Achievement\r\n\r\n2009\r\nKarlovy Vary International Film Festival &nbsp;\r\nawarded with Special Crystal Globe for his lifetime achievements\r\n\r\n2002\r\nCzech Film Academy\r\nwon Czech Lion for the film Otes\u00e1nek as the Best Czech Film\r\n\r\n2001\r\nCracow Film Festival\r\nawarded with Dragon of Dragons Prize for his lifetime achievements\r\n\r\n1996\r\nLocarno International Film Festival\r\nnominated Golden Leopard for Conspirators of Pleasure\r\n\r\n1995\r\nCzech Critics Awards\r\nwon Christian for the film Faust as the Best Animated Film\r\n\r\n1995\r\nCzech Film Academy\r\nwon Czech Lion for the film Faust for the Best Design Achievement\r\n\r\n1994\r\nKarlovy Vary International Film Festival\r\nwon Special Prize of the Jury for the film Faust (tied with Przypadek Pekosinskiego)\r\n\r\n1989\r\nAnnecy International Animated Filmfest\r\nwon the Feature Film Award for the film Alice\r\n\r\n1984\r\nMontreal World Film Festival\r\nwon Jury Prize (Short Films) for the film The Pendulum, the Pit and Hope\r\n\r\n1983\r\nBerlin International Film Festival\r\nwon Golden Berlin Bear for the film Dimensions of Dialogue\r\n\r\n\r\n1969\r\nInternational Short Filmfest Oberhausen\r\nwon Grand Prix for the film The Flat\r\n\r\n1968\r\nInternational Short Filmfest Oberhausen\r\nwon Prize of Marx Ernst for the film Historia Naturae\r\n\r\n1966\r\nInternational Filmfest Mannheim-Heidelberg\r\nwon Josef von Sternberg Award for the film Punch and Judy<\/div>","groups":[121168],"membership":"Surrealistick\u00e1 skupina","exhibitions_solo":"2015\r\nJan \u0160vankmajer: Lid\u00e9, sn\u011bte! \/ Artinbox \/ Praha\r\nKunstkamera Jana \u0160vankmajera \/ Museum Kampa \/ Praha\r\n\r\n2014\r\nMetamorfosi, spole\u010dn\u011b s Evou \u0160vankmajerovou \/ Centre de la Cultura Contemporania de Barcelona \/ Barcelona\r\nJan \u0160vankmajer: Mo\u017enosti dialogu mezi filmem a volnou tvorbou \/ \u010cesk\u00e9 centrum \/ Praha\r\n\r\n2013\r\nJan \u0160vankmajer: The Inner Life of Objects \/ University of Brighton Gallery \/ Brighton\r\nJan \u0160vankmajer. Mo\u017enosti dialogu. Mezi filmem a volnou tvorbou \/ Muzeum modern\u00edho um\u011bn\u00ed \/ Olomouc \r\n\r\n2012\r\nJan \u0160vankmajer \/ Kerstin Engholm Galerie \/ V\u00edde\u0148\r\nJan \u0160vankmajer. Survivre \u00e0 sa vie, collages \/ Galerie les yeux fertiles \/ Pa\u0159\u00ed\u017e\r\nMo\u017enosti dialogu \/ GHMP, D\u016fm U Kamenn\u00e9ho zvonu \/ Praha\r\n\r\n2011\r\nYume Koso makoto \/ \u010cesk\u00e9 centrum \/ Tokio\r\nJan \u0160vankmajer \/ Yebisu International Festival for Art & Alternative Visions \/ Tokio\r\nDas Kabinet des Jan \u0160vankmajer. Das Pendel, die Gr\u00fcbe und andere Absonderlichkeiten \/ Kunsthalle \/ V\u00edde\u0148\r\nJan \u0160vankmajer \u2013 Eva \u0160vankmajerov\u00e1, Film a jeho okol\u00ed, spole\u010dn\u011b s E. \u0160vankmajerovou \/ Laforet Harajuku \/ Tokio\r\nJan \u0160vankmajer \u2013 Eva \u0160vankmajerov\u00e1 \/ Kyoto Bunka Hakubutsukan \/ Kj\u00f3to\r\n\r\n2010\r\nP\u0159e\u017e\u00edt sv\u016fj \u017eivot, kol\u00e1\u017ee \/ Art in Box \/ Praha\r\n\r\n2008\r\nJan \u0160vankmajer \/ Aichi Arts Center \/ Nagoya\r\nSalamandr, spole\u010dn\u011b s Evou \u0160vankmajerovou \/ Slov\u00e1ck\u00e9 muzeum \/ Uhersk\u00e9 Hradi\u0161t\u011b\r\n\r\n2007\r\nJan \u0160vankmajer: Human Chair (Ningen Isu) \/ \u010cesk\u00e9 centrum \/ Tokio\r\nJan \u0160vankmajer \u2013 Eva \u0160vankmajerov\u00e1 \/ Laforet Harajuku \/ Tokio\r\n\r\n2006\r\nJan \u0160vankmajer: Alenka \/ \u010cesk\u00e9 centrum \/ Tokio\r\nGaudia Eva\u0161vankmajerjan, spole\u010dn\u011b s Evou \u0160vankmajerovou \/ Niitsu Museum of Art \/ Niigata\r\n\r\n2005\r\nGaudia Eva\u0161vankmajerjan, spole\u010dn\u011b s Evou \u0160vankmajerovou \/ The Museum of Modern Art \/ Hayama\r\nSyrov\u00e9 um\u011bn\u00ed, sb\u00edrka Jana a Evy \u0160vankmajerov\u00fdch \/ Galerie Klatovy\/Klenov\u00e1; Moravsk\u00e1 galerie, Brno\r\n\r\n2004\r\nEva \u0160vankmajerov\u00e1, Jan \u0160vankmajer \/ Centre tch\u00e8que \/ Brusel\r\nJ\u00eddlo, spole\u010dn\u011b s Evou \u0160vankmajerovou \/ J\u00edzd\u00e1rna Pra\u017esk\u00e9ho hradu \/ Praha\r\nPam\u011b\u0165 animace \u2013 animace pam\u011bti, spole\u010dn\u011b s Evou \u0160vankmajerovou \/ Galerie m\u011bsta Plzn\u011b \/ Plze\u0148\r\n\r\n2003\r\nMemoria dell\u2019animazione. Animazione della memoria, spole\u010dn\u011b s Evou \u0160vankmajerovou \/ Palazzo pigorini a Galleria San Ludovico \/ Parma\r\nMediumn\u00ed kresby a feti\u0161e, spole\u010dn\u011b s Evou \u0160vankmajerovou \/ M\u011bstsk\u00e9 muzeum \/ Nov\u00e1 paka\r\nJan \u0160vankmajer et Eva \u0160vankmajerov\u00e1 \/ Galerie les yeux fertiles \/ Pa\u0159\u00ed\u017e\r\n\r\n2002\r\n\u0160vankmajer E&J. Bouche \u00e0 bouche, spole\u010dn\u011b s Evou \u0160vankmajerovou \/ Ch\u00e2teau-Mus\u00e9e, Annecy; Mus\u00e9e de la marionette, Charleville-M\u00e9zi\u00e8re\r\n\r\n2001\r\nImaginativn\u00ed oko, imaginativn\u00ed ruka, spole\u010dn\u011b s Evou \u0160vankmajerovou ( Galerie Ji\u0159\u00edho a B\u011bly Kol\u00e1\u0159ov\u00fdch \/ Praha\r\n\r\n1998\r\nParakabinet, spole\u010dn\u011b s E. \u0160vankmajerovou \/ Galerie modern\u00edho um\u011bn\u00ed \/ Hradec Kr\u00e1lov\u00e9\r\nAnima, animus, animace, spole\u010dn\u011b s E. \u0160vankmajerovou \/ Galerie U B\u00edl\u00e9ho Jednoro\u017ece, Klatovy \/ Centrum Egona Schieleho, \u010cesk\u00fd Krumlov \/ Galerie modern\u00edho um\u011bn\u00ed, Hradec Kr\u00e1lov\u00e9 \/ Oblastn\u00ed galerie Vyso\u010diny, Jihlava \/ V\u00fdchodo\u010desk\u00e1 galerie, Pardubice\r\n\r\n1997\r\nP\u0159\u00edrodopisn\u00fd kabinet, spole\u010dn\u011b s Evou \u0160vankmajerovou \/ Galerie Josefa Sudka \/ Praha\r\nMluv\u00edc\u00ed mal\u00ed\u0159stv\u00ed, n\u011bm\u00e1 poezie, spole\u010dn\u011b s Evou \u0160vankmajerovou \/ Obecn\u00ed galerie Beseda \/ Praha\r\n\r\n1996\r\nHmat, Arcimboldo a vanitas, spole\u010dn\u011b s Evou \u0160vankmajerovou \/ Lond\u00fdn, Var\u0161ava a Krakov\r\n\r\n1995\r\nAthanor, spole\u010dn\u011b s Evou \u0160vankmajerovou \/ Telluride\r\n\r\n1994\r\nHmat, alchymie a loutka \/ St\u0159edoevropsk\u00e1 galerie \/ Praha\r\nEl llenguatge de l\u2019analogie, spole\u010dn\u011b s Evou \u0160vankmajerovou \/ Sitges\r\n\r\n1993\r\nDas Lexicon der Tr\u00e4ume \/ Kunstraum Freihaus \/ V\u00edde\u0148\r\n\r\n1992\r\nCyfleu breuddwydion. The Communication of Dreams, spole\u010dn\u011b s Evou \u0160vankmajerovou \/ Cardiff Chapter, The Davis Memorial Gallery \/ Newtown\r\n\r\n1991\r\nLa fuerza de la imagionaci\u00f3n \/ Valladolid\r\nLa Contamination des sens, spole\u010dn\u011b s Evou \u0160vankmajerovou \/ Centre International du Cin\u00e9ma d\u2019Animation \/ Annecy\r\n\r\n1989\r\nFilm Retrospective \/ Museum of Modern Art \/ New York\r\n\r\n1987\r\nBouillonnements cach\u00e9s, spole\u010dn\u011b s Evou \u0160vankmajerovou \/ Brusel, Tournai\r\n\r\n1983\r\nP\u0159\u00edrodopisn\u00fd kabinet \/ Pra\u017esk\u00fd filmov\u00fd klub \/ Praha\r\n\r\n1977\r\nInfantile L\u00fcste, spole\u010dn\u011b s Evou \u0160vankmajerovou \/ Galerie Sonnenring \/ M\u00fcnster\r\n\r\n1963\r\nObjekty \/ Viola \/ Praha\r\n\r\n1962\r\nKresby a tempery \/ Divadlo Semafor \/ Praha","exhibitions_group":"2012\r\nJin\u00fd vzduch. Skupina \u010desko-slovensk\u00fdch surrealist\u016f \/ Starom\u011bstsk\u00e1 radnice \/ Praha\r\n\r\n2011\r\nSurrealistick\u00e1 v\u00fdchodiska (1948 \u2013 1989). Odklony, n\u00e1vraty, p\u0159esahy \/ Letohr\u00e1dek Hv\u011bzda \/ Praha\r\n\r\n2008\r\nSv\u011bt je stra\u0161liv\u00fd p\u0159\u00edrodopis \/ Pr\u00e1che\u0148sk\u00e9 muzeum \/ P\u00edsek\r\nImaginace reality II \/ \u010cesk\u00e9 centrum a St\u00e1tn\u00ed um\u011bnov\u011bdn\u00fd \u00fastav \/ Moskva\r\n\r\n2007\r\n\u010cern\u00e1 a b\u00edl\u00e1 jezera \/ Galerie Scarabeus \/ Praha\r\n\r\n2004\r\nRodinn\u00fd v\u00fdlet s d\u00e9mony \/ Galerie Scarabeus \/ Praha\r\n\r\n2003\r\nNalezen\u00fd objekt redivivus \/ Galerie Concordia \/ Praha\r\n\r\n2002\r\nP\u0159\u00edroda se nem\u00fdl\u00ed \/ Galerie Scarabeus \/ Praha\r\nL\u2019art brut tch\u00e8que \/ Galerie Halle Saint Pierre \/ Pa\u0159\u00ed\u017e\r\n\r\n2001\r\nSf\u00e9ra snu 2001 \/ Sovinec\r\n\r\n2000\r\nZ\u00e1bory, anexe, okupace, an\u0161lusy \/ Galerie Z\u00e1me\u010dek \/ P\u0159\u00edbram\r\nTschechischer Surrealismus und Art Brut zum Ende des Jahrtausends \/ Palais Palffy \/ V\u00edde\u0148\r\n\r\n1999\r\nSvatokr\u00e1de\u017e. Z\u00e1zra\u010dn\u00e9 proti posv\u00e1tn\u00e9mu \/ Salmovsk\u00fd pal\u00e1c \/ Praha\r\n\r\n1998\r\nInvention, imagination, interpretation \/ Glynn Vivian Art Gallery \/ Swansea\r\n\r\n1997\r\nJitro kouzeln\u00edk\u016f (Ztr\u00e1ty a n\u00e1lezy) \/ N\u00e1rodn\u00ed galerie, Veletr\u017en\u00ed pal\u00e1c \/ Praha\r\nO\u010dima Arcimboldov\u00fdma \/ N\u00e1rodn\u00ed galerie, Veletr\u017en\u00ed pal\u00e1c \/ Praha\r\nSurrealistick\u00e1 obraznost a kresba \/ N\u00e1rodn\u00ed galerie, Pal\u00e1c Kinsk\u00fdch \/ Praha\r\n\r\n1995\u20131997\r\nZ jednoho t\u011bsta \/ Semily, Cheb, Nitra, Brno, Praha\r\n\r\n1994\r\nNebezpe\u010dn\u00e9 ozdoby \/ Lipnice nad S\u00e1zavou\r\n\r\n1993\r\nSen, erotismus, interpretace \/ Slovensk\u00e9 kulturn\u00ed centrum \/ Budape\u0161\u0165\r\nDas Umzugskabinett \/ Galerie 13 \/ Hannover\r\n\r\n1991\r\nSen, erotismus, interpretace (v\u00fdstava Surrealistick\u00e9 skupiny) \/ Stredoslovansk\u00e1 gal\u00e9ria, Bansk\u00e1 Bystrica \/ GHMB, P\u00e1lffyho pal\u00e1c \/ Gal\u00e9ria M\u00e9dium, Bratislava\r\nT\u0159et\u00ed archa, 1979 \u2013 1991. Surrealistick\u00e1 skupina v \u010ceskoslovensku \/ v\u00fdstavn\u00ed s\u00ed\u0148 M\u00e1nes \/ Praha\r\n\r\n1990\r\nAnalogon, 1969 \u2013 1990. Voyage \u00e0 travers les couleurs du temps \/ Galerie Neuf \/ Pa\u0159\u00ed\u017e\r\n\r\n1984\r\nProm\u011bny humoru \/ Praha\r\n\r\n1983\r\nSf\u00e9ra snu \/ Sovinec\r\n\r\n1981\r\nExposition du Groupe surr\u00e9aliste en Tch\u00e9coslovaquie \/ Galerie Phasme \/ \u017deneva\r\n\r\n1978\r\nLe Collage surr\u00e9aliste en 1978 \/ Galerie Le Trisk\u00e8le \/ Pa\u0159\u00ed\u017e\r\n\r\n1975\r\nArmes et bagages \/ Galerie Verri\u00e8re \/ Lyon\r\n\r\n1968\r\nAusstellung tschechischer K\u00fcnstler \/ Galerie Riehentor \/ Basel\r\n\r\n1967\r\nFantasijn\u00ed aspekty sou\u010dasn\u00e9ho \u010desk\u00e9ho um\u011bn\u00ed \/ Oblastn\u00ed galerie Jihlava, Galerie V\u00e1clava \u0160p\u00e1ly v Praze\r\nPrager K\u00fcnstler \/ Galerie am Taubenmarkt \/ Linz\r\n\r\n1966\r\nV\u00fdstava mlad\u00fdch \/ Moravsk\u00e1 galerie \/ Brno\r\n\r\n1964\r\nSkupina M\u00e1j \/ Nov\u00e1 s\u00ed\u0148 \/ Praha\r\n\r\n1961\r\n4. v\u00fdstava skupiny M\u00e1j \/ Pod\u011bbrady","realizations_other":"","collections":"Tate Modern v&nbsp;Lond\u00fdn\u011b NG v&nbsp;Praze MU v&nbsp;Olomouci GVU v&nbsp;Chebu Galerie Klatovy\/Klenov\u00e1 MG v Brn\u011b","monographies":"Vasseleu, Cathryn (ed.), Touching and Imagining. An Introduction to Tactile Art, I. B. Tauris, London\/New York 2014.<br \/><br \/> Jin\u00fd vzduch. Skupina \u010desko-slovensk\u00fdch surrealist\u016f 1990 \u2013 2001, Starom\u011bstsk\u00e1 radnice (katalog v\u00fdstavy), Sdru\u017een\u00ed Analogon, Praha 2012.<br \/><br \/> Dryje, Franti\u0161ek a Schmitt, Betrand (ed.), Mo\u017enosti dialogu \/ Mezi filmem a volnou tvorbou, Arbor vitae, \u0158evnice 2012.<br \/><br \/> Castro, Eugenio \u2013 Lacalle, Juli\u00e1n (eds), Para ver, cierra los ojos, Filmoteca Nacional de Madrid, Pepitas de Calazaba, Madrid 2012.<br \/><br \/> Surrealistick\u00e1 v\u00fdchodiska (1948-1989). Odklony. N\u00e1vraty. P\u0159esahy, Pam\u00e1tn\u00edk n\u00e1rodn\u00edho p\u00edsemnictv\u00ed (katalog v\u00fdstavy), Spole\u010dnost Karla Teiga, Praha 2011.<br \/><br \/> Jodoin-Keaton, Charles, Le cin\u00e9ma de Jan \u0160vankmajer. Un surr\u00e9aliste anim\u00e9, Rouge profound, Paris 2011.<br \/><br \/> Das Kabinet des Jan \u0160vankmajer. Das Pendel, die Gr\u00fcbe und andere Absonderlichkeiten, Ursula Blickle Stiftung, Kunsthalle Wien, Verlag f\u00fcr Moderne Kunst 2011.<br \/><br \/> Guti\u00e9rrez, Gregorio Mart\u00edn (ed.), Jan \u0160vankmajer. La magia de la subversi\u00f3n, T&amp;B editores, Madrid 2010.<br \/><br \/> \u0160vankmajer, Jan, Frolcov\u00e1, Milada, Salamandr. V\u00fdb\u011br z&nbsp;tvorby Evy a Jana \u0160vankmajerov\u00fdch, Slov\u00e1ck\u00e9 muzeum, Uhersk\u00e9 Hradi\u0161t\u011b 2008.<br \/><br \/> Akatsuka, Wagaki, \u0160vankmajer to \u010cko \u00e1to, Michitani, Tokyo 2008.<br \/><br \/> Skupina M\u00e1j 57. \u00dasil\u00ed o um\u011bleckou svobodu na p\u0159elomu 50. a 60. let, C\u00edsa\u0159sk\u00e1 kon\u00edrna (katalog v\u00fdstavy), Spr\u00e1va Pra\u017esk\u00e9ho hradu, Praha 2007.<br \/><br \/> Tsjechische L\u2019art brut tch\u00e8que, Mus\u00e9e d\u2019art spontan\u00e9, Centre tch\u00e8que (katalog v\u00fdstavy), Bruxelles 2004.<br \/><br \/> Otcovsk\u00e1, Kv\u011bta a Fr\u00eddlov\u00e1, Olga (ed.), Jan \u0160vankmajer. Transmutace smysl\u016f, St\u0159edoevropsk\u00e1 galerie a nakladatelstv\u00ed, Praha 2004.<br \/><br \/> Dryje, Franti\u0161ek a Stola\u0159\u00edk, Bruno (ed.), J\u00eddlo \/ Eva \u0160vankmajerov\u00e1, Jan \u0160vankmajer, Arbor vitae, Spr\u00e1va Pra\u017esk\u00e9ho hradu, Praha 2004.<br \/><br \/> Corbet Maurice, Vimenet Pascal (eds), \u0160vankmajer, E&amp;J \u2013 Bouche \u00e0 bouche, \u00c9ditions de l\u2019\u0153il, Montreuil 2002.<br \/><br \/> L\u2019art brut tch\u00e8que, Galerie Halle Saint Pierre (katalog v\u00fdstavy), Paris 2002.<br \/><br \/> Dryje Franti\u0161ek (ed.), S\u00edla imaginace. Re\u017eis\u00e9r o sv\u00e9 filmov\u00e9 tvorb\u011b, Dauphin \u2013 Mlad\u00e1 fronta, Praha 2001.<br \/><br \/> Sf\u00e9ra snu 2001. V\u00fdstava Surrealistick\u00e9 skupiny v&nbsp;\u010ceskoslovensku, Galerie Sovinec, 2001 (katalog Analogon \u010d. 32).<br \/><br \/> Imaginativn\u00ed oko, imaginativn\u00ed ruka, Galerie Ji\u0159\u00edho a B\u011bly Kol\u00e1\u0159ov\u00fdch, Vltav\u00edn, Praha 2001.<br \/><br \/> Kumagai, Maki \u2013 Hol\u00fd, Petr, \u0160vankmajer no hakubutsukan, shokkaku geijutsu, obuje, koraju shu, Kokusho Kank\u00f3kai, Tokio 2001.<br \/><br \/> Tschechischer Surrealismus und Art Brut zum Ende des Jahrtausends, Palais Palffy, Wien 2000.<br \/><br \/> Z\u00e1bory, anexe, okupace, an\u0161lusy. V\u00fdstava Surrealistick\u00e9 skupiny v&nbsp;\u010cesko-Slovensku, Galerie Z\u00e1me\u010dek, P\u0159\u00edbram 2000, (katalog Analogon \u010d. 30).<br \/><br \/> Svatokr\u00e1de\u017e, Mezin\u00e1rodn\u00ed surrealistick\u00e1 v\u00fdstava, Salmovsk\u00fd pal\u00e1c, Praha 1999 (katalog Analogon \u010d. 25).<br \/><br \/> Akatsuka, Wagaki, \u0160vankmajer no sekai, Kokusho Kank\u00f3kai, Tokyo 1999.<br \/><br \/> Intervention, Imagination, Interpretation. A Retrospective Exhibition of the Group of Czech and Slovak Surrealists, Swansea Festval of Czech and Slovak Surrealism, Swansea 1998.<br \/><br \/> O\u010dima Arcimboldov\u00fdma, N\u00e1rodn\u00ed galerie (katalog v\u00fdstavy), Praha 1997.<br \/><br \/> Surrealistick\u00e1 obraznost a kresba, N\u00e1rodn\u00ed galerie (katalog v\u00fdstavy), Praha 1997.<br \/><br \/> \u0160vankmajerov\u00e1, Eva a \u0160vankmajer, Jan, Eva\u0161vankmajerjan: anima, animus, animace, katalog k&nbsp;v\u00fdstav\u00e1m v&nbsp;Klatovech, \u010cesk\u00e9m Krumlov\u011b, Hradci Kr\u00e1lov\u00e9, Jihlav\u011b, Pardubic\u00edch, 1997.<br \/><br \/> Hames, Peter (ed.), Dark alchemy. The Films of Jan \u0160vankmajer, Flicks Books, Trowbridge 1995.<br \/><br \/> \u0160vankmajer, Jan, Hmat a imaginace (\u00favod do taktiln\u00edho um\u011bn\u00ed). Taktiln\u00ed experimentace 1974-1983, Kozoroh, Praha 1994.<br \/><br \/> Das Umzugskabinet. Ausstellung der Gruppe der tschechichen und slowakischen Surrealisten, Galerie 13 (katalog v\u00fdstavy), Hannover; Galerie Forum, G\u00fctersloh 1993.<br \/><br \/> Das Lexikon der Tr\u00e4ume, Kunstraum Freihaus, Wien 1993.<br \/><br \/> T\u0159et\u00ed Archa. V\u00fdstava Surrealistick\u00e9 skupiny v&nbsp;\u010ceskoslovensku, Galerie M\u00e1nes (katalog v\u00fdstavy), Sdru\u017een\u00ed Analogonu a Lidov\u00e9 noviny, Praha 1991.<br \/><br \/> Het Iudicatief Principe, Antwerpse Film Stichting, Antwerpen 1991.<br \/><br \/> Analogon, voyage \u00e0 travers les couleurs du temps. Exposition du Groupe surr\u00e9aliste en Tch\u00e9coslovaquie, Galerie Neuf, Editions Hourglass, Paris 1990.<br \/><br \/> Vimenet Pacal, Alice. \u00c9coles et cin\u00e9ma, Les enfants du cin\u00e9ma, Yellow Now, Paris 1989.<br \/><br \/> Bouillonnments cach\u00e9s, tableaux, dessins, gravures, collages, c\u00e9ramiques, objets, films de Eva et Jan \u0160vankmajer, Edition Conf\u00e9d\u00e9ration Parascolaire, Bruxelles et Tournai 1987.<br \/><br \/> Prom\u011bny humoru. V\u00fdstava Surrealistick\u00e9 skupiny v&nbsp;\u010ceskoslovensku, Sovinec, Praha, Editions Le La, Gen\u00e8ve 1984.<br \/><br \/> Sf\u00e9ra snu. V\u00fdstava Surrealistick\u00e9 skupiny v&nbsp;\u010ceskoslovensku, Sovinec, Editions Le La, Gen\u00e8ve \u2013 Prague 1983.<br \/><br \/> Exposition du Groupe surr\u00e9aliste en Tch\u00e9coslovaquie, Galerie Phasme (katalog v\u00fdstavy), Gen\u00e8ve 1981.<br \/><br \/> Le collage surr\u00e9aliste en 1978, Galerie Le Trisk\u00e8le (katalog v\u00fdstavy), Paris 1978.<br \/><br \/> Infantile L\u00fcste, Galerie Sonnering, M\u00fcnster 1977.<br \/><br \/> Armes et bagages, Galerie Verri\u00e8re (katalog v\u00fdstavy), Lyon 1975.<br \/><br \/> Skupina M\u00e1j \u2013 5. v\u00fdstava skupiny M\u00e1j, Nov\u00e1 s\u00ed\u0148 (katalog v\u00fdstavy), Praha 1964. ","articles":"","reviews":"","texts_unlisted":"","annotations":[{"text":"In 1977, Vratislav Effenberger signed Charta 77 on behalf of the entire Surrealistic group the members of which at the time included Alena N\u00e1dvorn\u00edkov\u00e1, Karol Baron, Martin Stejskal, Juraj Moj\u017e\u00ed\u0161, Emila Medkov\u00e1, Ludv\u00edk \u0160v\u00e1b, Albert Maren\u010din and Eva and Jan \u0160vankmajerovi, among others. Effenberger accompanied the position of the surrealists to the signing with a text in which he openly opposed any power system whether it was the Communist regime or capitalistic style democracy. This standpoint serves as an example of the surrealists\u2019 approach to the political situation at that time. They did not remain indifferent to the current situation, they did not turn to escapism as some of their actions could insinuate, but, on the contrary, they defended a clear and specific critical opinion. They found themselves in double opposition as Effenberg later called it; they retained, however, their own field of thought, free for individual creation of opinions and sufficiently opened to imagination. Such a position can also serve as an instruction how to characterize the free art work of Jan \u0160vankmajer.\r\n\r\nIt is precisely imagination that serves surrealists as an instrument for questioning any intellectual or emotional conventions. The power of imagination lies in the fact that it strives to disrupt learned perception and stereotypical ways of learning. In order for a new, metamorphosed world to be created, the original one has to be destroyed. That is why surrealistic actions will always be accepted in a negative way because reason hinders adaption to a new situation. In his work, Jan \u0160vankmajer puts an emphasis precisely on the unaware component of the psyche; the disruption of existing conventions, however, does not remain only in the content aspect. \u0160vankmajer also experiments with actual media, which he uses, whether it is an object, puppet theatre or film.\r\n\r\nHis first independent artworks originated during his studies at the Academy of Performing Arts (1954\u20131958) where \u0160vankmajer&nbsp;pursued the double-major in fine arts and direction. Initially they are drawings referring to primitivist and overseas art, and later they are objects and bas-reliefs, which are very similar to Czech informel but evade this classification. In his assemblages \u0160vankmajer interconnects diverse materials and objects and allows them to speak for themselves. It is not only a game of association with random things, instead he rather tries to reveal stories through random groupings and memories concealed behind them. According to \u0160vankmajer things have their own memory, which one can haptically relate to. \u201cFor me objects have always been more vital than people; more stable, but also more expressive. More exciting with their latent contents and memory far exceeding human memory. Objects conceal stories, which they have witnessed (\u2026) The more an object has been touched, the more its content is charged,\u201d Jan \u0160vankmajer writes in the magazine <i>Film a doba <\/i>(Film and Time), 1982. The artist\u2019s assemblages can hardly be classified within the tradition of Czech informel, because rather than striving for existential expression or resistance to imagery and formality of modernism, he strove for a specific encounter of shapes, which he further developed at the beginning of the 1960s.\r\n\r\nHi material assemblages in which matter succumbed to varied shaping, kneading and interconnecting, related in their form with the difficult time period in which Jan \u0160vankmajer tried to experiment with puppet theatre. And this was not only in his final exam project from the year 1958, which was the production of the satire by Venetian playwright Carlo Gozzi from 1762 <i>The Stag King<\/i>, but also later in his own ensemble Theatre of Masks, which functioned for several years under the umbrella of Semafor Theatre. For \u0160vankmajer the medium, whether it was film or theatre play, never played a role of the intermediator of the story. It was rather a field for examination of the boarders between genres and disrupting traditional positions. Relationships between actors and puppets, between the living and nonliving are emphasized in \u0160vankmajer\u2019s early puppet shows. Questions arise here regarding conflicting binary compositions between vital organic nature and illusion of life, between the controlling and the manipulated. \u0160vankmajer\u2019s experimental games inspired, in their form, by Russian and German avant-garde film and theatre, were not very well received by the public at the beginning of the 1960s. Repetitive misunderstanding from the side of the audience and disagreements with the management of the Semafor Theatre led to the moving of the Theatre of Masks ensemble under the umbrella of Laterna Magika in 1962, where \u0160vankmajer was enchanted by the possibilities of a different media \u2013 the film.\r\n\r\nDuring the same time period \u0160vankmajer\u2019s work is starting to be penetrated by his fascination with Prague Mannerism, the collection of Rudolf II. and the work of Giuseppe Arcimboldo. He creates assemblages where products of nature, created artefacts and drawn and written documents are all encountered in one object. Individual articles are matched together according to loose associative relationships and occasionally they are also labelled and numbered like in classicist natural science collections. Between the years 1971 to 1972 \u0160vankmajer started to create a cycle of collages and graphics, which he called <i>\u0160vank-meyers Bilderlexikon<\/i>. This title works with the artist\u2019s name and the title of 52-volume encyclopaedia Meyers Lexicon, but it is far from being a stiff scientific catalogue. \u0160vankmajer\u2019s ensemble is some sort of imaginary and utopian encyclopaedia, which tries to include all areas of human knowledge \u2013 biology, geography, art, technique, etc. He came back to this project in the 1990s with his collage <i>Systemless Anatomy<\/i>. Related to encyclopaedia is another collection, however \u2013 assemblages from animal skeletons and various objects, which \u0160vankmajer interconnected in diverse fantastic shapes of strange animals and creatures. He later used assemblages in the film <i>Alice <\/i>(<i>N\u011bco z&nbsp;Alenky) <\/i>(1987) and they also became the foundation for section Scientika of the Kunstkomora (Kunstchamber) (or as the artist calls it himself: Kunstcamera), which he built in his house in Horn\u00ed Sta\u0148kov. \u0160vankmajer\u2019s Kunstkomora fully reveals the artist\u2019s approach to creative work and the way he sees the world as a \u201cmagic universe\u201d, in which the main role is played by imagination as the \u201cqueen of human abilities\u201d. \r\n\r\nIt is not only \u0160vankmajer\u2019s older theatre productions that contain contrasts between traditional approaches and new experiments with images and actors, hybridism of classical methods and combining of genres, these can also be found in his films. Such films continue to be in opposition to the conventional way of filming and also to the perception of the audience. At the same time they are always received with disconcertion, enfolded in provocative undertone, in spite of the fact that \u0160vankmajer\u2019s older films belong among the classics of Czech cinematography. Already when the young \u0160vankmajer was completing his studies at the Academy of Performing Arts in 1958, he received an offer from director and screenwriter Emil Radok to cooperate on short-footage film <i>Johanes Doctor Faust. <\/i>Six years later \u0160vankmajer produced his own original short film <i>The Last Trick (Posledn\u00ed trik pana Schwarcewalldea a pana Edgara<\/i>), which a number of actors from the Theatre of Masks cooperated on. In this film \u0160vankmajer combined some sequences from his theatre plays and from the very beginning he places the viewer in front of a sequence of fast image clips, thanks to which he builds a dynamic and contrasting structure of some sort of anti-narrative. The same principle then recurs in many other \u0160vankmajer\u2019s films, like in the short film <i>Historia naturae (suita)<\/i> from 1967, where he gradually introduces the viewer to varied natural-scientific species and combines artefacts with products of nature (stuffed as well as living) and drawings. The film originated parallelly to his interest in Rudof II. Mannerism and fantastic creatures, which \u0160vankmajer visualized in his collages and objects.\r\n\r\nDuring the 1970s \u0160vankmajer was not allowed to work on films and he alone did not have sufficient technical equipment to be able to make films on his own. That is why he started to once again fully pursue objects, which again were the subjects of the character of the materials, but this time with the intention to underscore their tactile character. The objects that originated \u2013 tactile chairs, rolling pins, cutting boards and wooden spoons \u2013 designated for the touch of varied parts of the body, were supposed to activate the tactual knowledge and behaviour and release this human sense of utilitarianism. The objective was supposed to be an intensive exacerbation of the senses, emphasizing the significance of the sense of touch and arousing imagination. \u0160vankmajer did not only use objects to achieve this, but also experiments during which he let members of the surrealistic group touch the structures he created while he recorded their word associations. \u0160vankmajer compared the results of his touch experiments with visual perceptions and he compiled these into some sort of final reports, which he published in 1994 in the book <i>Touch and Imagination (Introduction to Tactile Art) <\/i>[Hmat a imaginace&nbsp;(\u00davod do taktiln\u00edho um\u011bn\u00ed)]. \r\n\r\nSince the 1980s \u0160vankmajer has been systematically pursuing, in addition to making \u201canimal\u201d creatures, also the production of collages and object assemblages and primarily making feature films (from the most recent ones we should mention <i>Conspirators of Pleasure, <\/i>1996, <i>Little Otik, <\/i>2000, <i>Lunacy, <\/i>2005 and <i>Surviving Life, <\/i>2010). In any of his activities he never ceases to place an emphasis on the concept of imagination and on the need for its continual activation.&nbsp; \u0160vankmajer\u2019s surrealistic motto \u201cAll power to imagination\u201d did not become the slogan of the socialistic and squatter movement for no reason. It is not merely a simple peek into the fantastic world but rather an attempt to implement the possibility to change or to at least indicate it, because until a change (whether political, artistic, social or life) becomes conceivable, it will never happen.\r\n\r\n\r\n\r\nLiterature used: Dryje, Franti\u0161ek a Schmitt, Bertrand (ed.),&nbsp;<i>Jan \u0160vankmajer. Mo\u017enosti dialogu \/ Mezi filmem a volnou tvorbou<\/i>, Arbor vitae, \u0158evnice, 2012.","date":2015,"authors":[1889]}],"artworks":[116557,116558,116559,116560,116561,116562,116563,116564,116565,116566,116567,116568,116569,116570,116571,116572,116573,116574,116575,116576,116577,116578,116579,116580,116581],"videos":null},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.0 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>\u0160vankmajer - 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\/jan-svankmajer\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u0160vankmajer - Artlist\" \/>\n<meta property=\"og:url\" content=\"https:\/\/artlist.cz\/en\/umelci\/jan-svankmajer\/\" \/>\n<meta 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