{"id":151476,"date":"2025-11-18T20:39:15","date_gmt":"2025-11-18T19:39:15","guid":{"rendered":"https:\/\/artlist.cz\/umelci\/vojtech-kovarik\/"},"modified":"2025-12-29T17:54:54","modified_gmt":"2025-12-29T16:54:54","slug":"vojtech-kovarik","status":"publish","type":"artist","link":"https:\/\/artlist.cz\/en\/umelci\/vojtech-kovarik\/","title":{"rendered":"Kova\u0159\u00edk"},"featured_media":0,"template":"","class_list":["post-151476","artist","type-artist","status-publish","hentry","keyword-painting","keyword-sculpture"],"acf":{"nicknames":"","date_born":1993,"date_death":"","place_born":"Vala\u0161sk\u00e9 Mezi\u0159\u00ed\u010d\u00ed","lives":"Brno","web":"https:\/\/vojtechkovarik.com","idatum":"","address":"Jaselsk\u00e1 188\/5, Brno 602 00","email":"vojtechkovarikk@gmail.com","phone":"603922393","biography":"<strong>Studium:<\/strong>\r\n\r\n2016\u20132019\r\nOstravsk\u00e1 univerzita, Fakulta um\u011bn\u00ed, ateli\u00e9r kresby - magistersk\u00fd titul\r\n\r\n2017\r\nAkademia Sztuk Pi\u0119knych w Warszawie, ateli\u00e9r malby\r\n\r\n2013\u20132016\r\nOstravsk\u00e1 univerzita, Fakulta um\u011bn\u00ed, ateli\u00e9r kresby - bakal\u00e1\u0159sk\u00fd titul\r\n\r\n2009\u20132013\r\nSt\u0159edn\u00ed um\u011bleckopr\u016fmyslov\u00e1 \u0161kola Uhersk\u00e9 Hradi\u0161t\u011b, odd\u011blen\u00ed keramiky\r\n\r\n<strong>\r\nSt\u00e1\u017ee, tv\u016fr\u010d\u00ed pobyty:<\/strong>\r\n\r\n2020\r\nThe Fores Project, Lond\u00fdn\r\n\r\n2019\r\nartist in residence, La Brea Studio, The Cabin LA, Los Angeles\r\n\r\n<strong>\r\nOcen\u011bn\u00ed:<\/strong>\r\n\r\n2019\r\nlaure\u00e1t 12. ro\u010dn\u00edku Ceny kritiky za mladou malbu","groups":"","membership":"","exhibitions_solo":"2025\r\nInner World\u2019, Mendes Wood DM, Sao Paulo\r\n\r\n2024\r\nOd lini\u00ed k hmot\u011b, Museum Kampa, Praha\r\nUnder the weight of the world\u2019\u2019, Power Station, Dallas\r\n\r\n2023\r\nLost in Time\u2019, Galerie Derouillon, Paris\r\nThe Labours of Hercules, Mendes Wood DM, Brussels\r\n\r\n2022\r\nDusk of the Gods, Mendes Wood DM, New York\r\nDestinies of Stone Faces, Galerie Derouillon, Paris\r\n\r\n2021\r\nSolo show, FIAC OVR, Galerie Derouillon, Paris\r\nIn the Thickets of Unexplored Places, Mendes Wood DM, Sao Paulo\r\n\r\n2020\r\nSadness and Beauty, NADA Miami, Galerie Derouillon, Pa\u0159\u00ed\u017e\r\nAlej zapomenut\u00fdch t\u011bl, BADOKH - Kuhn Dost\u00e1l advok\u00e1tn\u00ed kancel\u00e1\u0159 s.r.o., Praha\r\nVilla Era with Mendes Wood DM, Vigliano Biellese, Milan\r\nHidden Garden, Galerie Derouillon, Paris\r\n\r\n2019\r\nCapture Hypothesis, The Cabine, Los Angeles\r\nLovers and Fighters, Public Gallery, Lond\u00fdn\r\nTemple of Doom, Berl\u00ednskej model, Praha\r\nLandscapes of Muscle, Galerie Dukla, Ostrava\r\nHeaven Hell Paradise, Galerie m\u011bsta T\u0159ince, T\u0159inec\r\n\r\n2018\r\nARMAGEDON, Galerie OFF\/FORMAT, Brno\r\n\r\n2017\r\nOsoby, Jedna Dva T\u0159i Gallery, Praha","exhibitions_group":"2025\r\nVisions of the World, Museum Kampa, Prague\r\nDouble Vision: The Rachofsky Collection and the Hartland&amp;Mackie\/ Labora Collection\u2019\u2019, Warehouse Dallas Art Foundation, Dallas\r\n\r\n2024\r\nNGV Triennial, The National Gallery of Victoria, Melbourne\r\nMy World, Singer Laren, Laren\r\nX COLLECTION 202: PORTRAIT OF A MAN, X Museum, Beijing\r\nHabiter le Monde, Ch\u00e2teau Aubenas, Centre d\u2019Art Contemporain, Aubenas\r\nN\u00e1vratn\u00fd pr\u016fzkum: Ostrava, M\u011bstsk\u00e1 knihovna Praha, Praha\r\n\r\n2023\r\nCinqui\u00e8me saison, Art Basel Paris en collaboration avec le Mus\u00e9e du Louvre, Jardin des Tuileries, Paris\r\nThe Rings of Saturn, Galerie Derouillon, Paris\r\nLinhas Tortas, Mendes Wood DM, Sao Paulo\r\nPaper Trails, Mendes Wood DM, Retranchement (NL)\r\nJezdec: V\u00fdstava sb\u00edrky Josefa Maixnera, Magnus Art, galerie J&amp;T banky, Praha\r\nTopografie hn\u00edzda, Galerie Fakulty um\u011bn\u00ed Ostravsk\u00e9 Univerzity (GAFU), Ostrava\r\n\r\n2022\r\nARS22: Living Encounters, Museum of Contemporary Art Kiasma, Helsinki\r\nFire Figure Fantasy: Selections from ICA Miami\u2019s Collection, Institute of Contemporary Art, Miami\r\nMEN: Mu\u017esk\u00e9 t\u011blo ve sb\u00edrce Roberta Runt\u00e1ka, Al\u0161ova jiho\u010desk\u00e1 galerie v Hlubok\u00e9 nad Vltavou (AJG), Hlubok\u00e1 nad Vltavou\r\n\r\n2021\r\nBT14: 14th edition Baltic Triennale, CAC Vilnius\r\n1920 - 2020: Figures and Portraits, Massimo de Carlo, Milan\r\nTen years anniversary show, Mendes Wood DM, Sao Paulo\r\n\r\n2020\r\nWhat Fruit it Bears, Peres Projects, Berlin\r\nStartPoint 2019, Arti et Amicitiae, Amsterdam\r\n\r\n2019\r\nA Snake Without A Head Is Just A Rope, Sim Smith, London (UK) Bracia, 18a Gallery, Warsaw\r\n12. Cena kritiky za mladou malbu 2019, Galerie kritik\u016f, Praha\r\nStartPoint 2019, Hole\u0161ovick\u00e1 tr\u017enice, Praha\r\nStartPoint 2019, Kovomat, Brno (Brno-m\u011bsto)\r\nLidsk\u00e1 m\u011b\u0159\u00edtka, Industra Art, Brno (Brno-m\u011bsto)\r\nArt Safari 34: Mu\u017ei, Bubec o.p.s. (Socha\u0159sk\u00e9 studio Bubec), Praha\r\nJust Kids, Hole\u0161ovick\u00e1 tr\u017enice, Praha\r\n\r\n2018\r\n4 + 4 dny v pohybu, Desfoursk\u00fd pal\u00e1c, Praha\r\nTales of Talent, Galerie Wolfsen, Aalborg","realizations_other":"","collections":"Blenheim Foundation (UK)\r\n\r\nDeji Art Museum, Nanjing\r\n\r\nFondazione Sandretto Re Rebaudengo, Tur\u00edn\r\n\r\nInstitute of Contemporary Art, Miami\r\n\r\nK11 MUSEA, Hongkong\r\n\r\nLACMA (Los Angeles County Museum of Art)\r\n\r\nMus\u00e9e d\u2019art Moderne de la ville de Paris\r\n\r\nMuseo Jumex, Mexico City\r\n\r\nNational Gallery of Victoria, Melbourne\r\n\r\nN\u00e1rodn\u00ed galerie v Praze\r\n\r\nRachofsky Collection,\r\n\r\nThe Warehouse, Dallas\r\n\r\nThe Bunker Artspace, Palm Beach\r\n\r\nThe Ekard Collection (NL)\r\n\r\nX Museum, Peking\r\n\r\nZuzeum Museum, Riga","monographies":"2025\r\nVisions of the World (The Wigam Collection), Museum Kampa (katalog v\u00fdstavy)\r\n\r\n2024\r\nVojt\u011bch Kova\u0159\u00edk: Od lini\u00ed k hmot\u011b \/ From Lines to Matter (katalog k v\u00fdstav\u011b)\r\n\r\n2023\r\nJezdec: V\u00fdstava sb\u00edrky Josefa Maixnera, Magnus Art, galerie J&amp;T banky (katalog v\u00fdstavy)\r\n\r\n2022\r\nMEN: Mu\u017esk\u00e9 t\u011blo ve sb\u00edrce Roberta Runt\u00e1ka, Al\u0161ova jiho\u010desk\u00e1 galerie v Hlubok\u00e9 nad Vltavou (katalog v\u00fdstavy)\r\n\r\n2020\r\nVojt\u011bch Kova\u0159\u00edk: Alej zapomenut\u00fdch t\u011bl, (katalog k v\u00fdstav\u011b)\r\n\r\n2019\r\n12. ro\u010dn\u00edk Ceny kritiky za mladou malbu 2019, Sdru\u017een\u00ed v\u00fdtvarn\u00fdch kritik\u016f a teoretik\u016f (katalog v\u00fdstavy)","articles":"2025\r\nzurani.com https:\/\/www.zurani.com\/how-vojtech-kovarik-is-revolutionising-modern-art-as-a-creative-powerhouse\/\r\n\r\n2024\r\n\u010cT Art: https:\/\/art.ceskatelevize.cz\/inside\/vojtech-kovarik-mam-rad-kdyz-obraz-prodam-nekomu-kdo-si-ho-necha-gb70A\r\nArt &amp; Antiques, 8\u20139\/2024\r\nArt &amp; Antiques, 6\/2025\r\nFlash Art, 73\/2024\r\nArtplus: https:\/\/artplus.cz\/cs\/aukcni-zpravodajstvi\/1\/ceny-kovarikovych-obrazu-jsme-nedavno-zvedli-o-dvacet-procent\r\nwhitewall.art https:\/\/whitewall.art\/art\/vojtech-kovarik-scales-painting-and-sculpture-to-the-heroism-and-agony-of-greek-myths\/\r\nForbes.cz https:\/\/life.forbes.cz\/anticka-laska-na-obrim-platne-umelec-vojtech-kovarik-oslnuje-v-usa\/\r\nForbes.cz https:\/\/life.forbes.cz\/jeho-obrazy-se-drazi-za-miliony-namety-se-mi-zjevuji-ve-snu-rika-vojtech-kovarik\/\r\n\r\n2023\r\nlidovky.cz https:\/\/www.lidovky.cz\/esprit\/vojtech-kovarik-malir-roznov-pod-radhostem-pariz-vystava-new-york.A230607_133756_ln_magazin_ape\r\n\r\n2021\r\nFlash Art, 62\/2021\r\nReflex, 38\/2021\r\nArtReview https:\/\/artreview.com\/the-provocations-of-vojtech-kovarik\/","reviews":"","texts_unlisted":"","annotations":[{"text":"Figur\u00e1ln\u00ed malba Vojt\u011bcha Kova\u0159\u00edka je charakteristick\u00e1 v\u00fdraznou stylizac\u00ed vych\u00e1zej\u00edc\u00ed z bohat\u00e9 mozaiky historick\u00fdch i modernistick\u00fdch inspirac\u00ed. Autor tyto vlivy hladce a p\u0159irozen\u011b spojuje do v\u00fdrazu typick\u00e9ho monumentalizovan\u00fdmi, deformovan\u00fdmi figurami nat\u011bsno vkl\u00edn\u011bn\u00fdmi do plo\u0161n\u00e9ho prostoru pl\u00e1tna. Postavy existuj\u00ed v jak\u00e9msi bez\u010das\u00ed melancholick\u00e9 kontemplace. Obrazy se tematicky obracej\u00ed zejm\u00e9na k antick\u00e9 mytologii, ve kter\u00e9 se autor sna\u017e\u00ed rozpozn\u00e1vat siln\u00e9 p\u0159\u00edb\u011bhy schopn\u00e9 komunikovat s dne\u0161n\u00ed dobou.\r\n\r\nKova\u0159\u00edk a\u017e do ned\u00e1vn\u00e9 doby vystavoval t\u00e9m\u011b\u0159 v\u00fdhradn\u011b v komer\u010dn\u00edch galeri\u00edch v zahrani\u010d\u00ed. Do \u0161irok\u00e9ho pov\u011bdom\u00ed \u010desk\u00e9 um\u011bleck\u00e9 sc\u00e9ny se dostal v roce 2023 v souvislosti s dra\u017ebou v newyorsk\u00e9 auk\u010dn\u00ed s\u00edni Christie\u2019s. Jeho obraz <em>Afrodita<\/em> se zde prodal za cenu v\u00edce ne\u017e osm milion\u016f korun, p\u0159i\u010dem\u017e se \u2013 i s p\u0159ihl\u00e9dnut\u00edm k autorov\u011b v\u011bku \u2013 nepochybn\u011b jednalo o obrovsk\u00fd komer\u010dn\u00ed \u00fasp\u011bch. O rok pozd\u011bji n\u00e1sledovala samostatn\u00e1 v\u00fdstava v Museu Kampa, \u010d\u00edm\u017e se na dom\u00e1c\u00ed sc\u00e9n\u011b definitivn\u011b upevnil Kova\u0159\u00edk\u016fv medi\u00e1ln\u00ed obraz\u00a0 coby jednoho z nej\u00fasp\u011b\u0161n\u011bj\u0161\u00edch mal\u00ed\u0159\u016f sv\u00e9 generace. Pon\u011bkud jednostrann\u011b se v\u0161ak jeho jm\u00e9no st\u00e1le sklo\u0148uje zejm\u00e9na v souvislosti s tr\u017en\u00edm \u00fasp\u011bchem.\r\n\r\nNa st\u0159edn\u00ed um\u011bleck\u00e9 \u0161kole v Uhersk\u00e9m Hradi\u0161ti se Kova\u0159\u00edk v\u011bnoval p\u0159edev\u0161\u00edm keramice. M\u011bl zde mo\u017enost rozv\u00edjet prostorov\u00e9 c\u00edt\u011bn\u00ed, co\u017e pozd\u011bji z\u00faro\u010dil p\u0159i tvorb\u011b reli\u00e9f\u016f a soch, kter\u00e9 se staly pevnou sou\u010d\u00e1st\u00ed jeho d\u00edla. Na Fakult\u011b um\u011bn\u00ed Ostravsk\u00e9 univerzity se v\u0161ak za\u010dal v\u011bnovat malb\u011b. Rok 2017 str\u00e1vil na st\u00e1\u017ei na Akademia Sztuk Pi\u0119knych ve Var\u0161av\u011b a o dva roky pozd\u011bji zakon\u010dil studium na Ostravsk\u00e9 univerzit\u011b, kde z\u00edskal magistersk\u00fd titul.\r\n\r\nV roce 2019 prob\u011bhla jeho samostatn\u00e1 v\u00fdstava v ostravsk\u00e9 galerii Dukla a v t\u00e9m\u017ee roce se stal laure\u00e1tem Ceny kritiky za mladou malbu, \u010d\u00edm\u017e na sebe poprv\u00e9 v\u00fdrazn\u011bji upozornil na dom\u00e1c\u00ed sc\u00e9n\u011b. Vystavil zde dva obrazy \u2013 <em>Otec boxu<\/em> a <em>Autoportr\u00e9t s hadem<\/em>. V letech 2019 a 2020 tak\u00e9 absolvoval dv\u011b zahrani\u010dn\u00ed st\u00e1\u017ee, prvn\u00ed v The Cabin v Los Angeles, druhou v r\u00e1mci programu The Fores v Lond\u00fdn\u011b. Profesn\u00ed pr\u016flom p\u0159i\u0161el v roce 2020, kdy Kova\u0159\u00edka za\u010daly zastupovat dv\u011b zahrani\u010dn\u00ed galerie: jako prvn\u00ed pa\u0159\u00ed\u017esk\u00e1 galerie Derouillon a n\u00e1sledn\u011b i americk\u00e1 Mendes Wood DM. Ob\u011b galerie m\u011bly z\u00e1sadn\u00ed pod\u00edl na um\u011blcov\u011b n\u00e1sledn\u00e9m komer\u010dn\u00edm \u00fasp\u011bchu.\r\n\r\nMezi l\u00e9ty 2020 a 2023 Kova\u0159\u00edk vystavoval t\u00e9m\u011b\u0159 v\u00fdhradn\u011b v prostor\u00e1ch t\u011bchto galeri\u00ed, tj. v pa\u0159\u00ed\u017esk\u00e9m prostoru galerie Derouillon \u010di v pobo\u010dk\u00e1ch Mendes Wood DM v New Yorku, S\u00e3o Paulu, Mil\u00e1n\u011b \u010di Bruselu. Jeho d\u00edlo bylo prezentov\u00e1no na tak presti\u017en\u00edch veletrz\u00edch, jako jsou Art Basel nebo Frieze, a p\u0159ich\u00e1zely prvn\u00ed velk\u00e9 komer\u010dn\u00ed \u00fasp\u011bchy. Dal\u0161\u00ed p\u0159elom nastal v roce 2024, kdy se o um\u011blce poprv\u00e9 za\u010daly zaj\u00edmat tak\u00e9 instituce. Na ja\u0159e 2024 se v prostor\u00e1ch b\u00fdval\u00e9 elektr\u00e1rny v Power Station v americk\u00e9m Dallasu uskute\u010dnila jeho samostatn\u00e1 v\u00fdstava. T\u00e9 dominoval \u0161est metr\u016f vysok\u00fd obraz <em>H\u00e9ro a Leandros<\/em>, kter\u00fd vznikl jako site-specific d\u00edlo p\u0159\u00edmo pro tento prostor. N\u00e1sledovala ji\u017e zm\u00edn\u011bn\u00e1 v\u00fdstava <em>Od lini\u00ed k hmot\u011b<\/em> v Museu Kampa. Na obou v\u00fdstav\u00e1ch autor z\u00e1rove\u0148 p\u0159edstavil i sv\u00e9 prostorov\u00e9 reli\u00e9fy nebo \u2013 v p\u0159\u00edpad\u011b Musea Kampa \u2013 tak\u00e9 monument\u00e1ln\u00ed betonov\u00e9 torzo <em>Afrodita<\/em>.\r\n\r\nSpecifickou roli v Kova\u0159\u00edkov\u011b \u00fasp\u011bchu sehr\u00e1l Instagram, kter\u00fd um\u011blec za\u010dal k prezentaci sv\u00e9 tvorby pou\u017e\u00edvat v roce 2017. Pr\u00e1v\u011b skrze tuto soci\u00e1ln\u00ed s\u00ed\u0165 si ho v\u0161imly zahrani\u010dn\u00ed galerie a touto cestou p\u0159i\u0161lo i pozv\u00e1n\u00ed na prvn\u00ed zahrani\u010dn\u00ed rezidenci. Instagram v t\u00e9 dob\u011b ji\u017e b\u011b\u017en\u011b fungoval jako platforma, je\u017e znamenala cestu k \u00fasp\u011bchu u cel\u00e9 \u0159ady mal\u00ed\u0159ek a mal\u00ed\u0159\u016f, pro kter\u00e9 se stalo vztahov\u00e1n\u00ed se k sob\u011b sam\u00fdm i ke sv\u00e9 tvorb\u011b prost\u0159ednictv\u00edm digit\u00e1ln\u00ed obrazovky zcela p\u0159irozenou v\u011bc\u00ed (\u010cejkov\u00e1 2020). D\u00edky Instagramu v t\u00e9 dob\u011b prorazila takov\u00e1 jm\u00e9na sou\u010dasn\u00e9 malby jako Oli Epp, Amoafo Boako, Julie Curtis a mnoho dal\u0161\u00edch. Kova\u0159\u00edkova pl\u00e1tna jsou sv\u00fdm zp\u016fsobem dokonal\u00fdm instagramov\u00fdm produktem. Jejich jasn\u00e1 \u010ditelnost, srozumitelnost, v\u00fdrazn\u00e1 barevnost, ale i absence na prvn\u00ed pohled rozpoznateln\u00e9ho konfliktu \u010di subverze m\u00e1 obrovsk\u00fd potenci\u00e1l zaujmout div\u00e1ky rychle proch\u00e1zej\u00edc\u00ed feedem.\r\n\r\nInstagram je ov\u0161em t\u0159eba vn\u00edmat i jinak ne\u017e jen jako pouh\u00fd marketingov\u00fd n\u00e1stroj. Je sou\u010dasn\u011b i m\u00e9diem, kter\u00e9 m\u016f\u017ee specifickou podobu malby p\u0159irozen\u011b determinovat, a to stejn\u00fdm zp\u016fsobem, jako technologick\u00fd pokrok podobu um\u011bn\u00ed ovliv\u0148oval v\u017edy. V modern\u00ed dob\u011b lze v tomto smyslu pozorovat vztah um\u011bn\u00ed a technologi\u00ed od vyn\u00e1lezu fotografie p\u0159es n\u00e1stup digit\u00e1ln\u00ed kultury a\u017e po soci\u00e1ln\u00ed s\u00edt\u011b. U Kova\u0159\u00edka je patrn\u00fd posun od pon\u011bkud hrub\u0161\u00ed malby sm\u011brem k technick\u00e9 preciznosti, hladkosti a harmonii, kdy se origin\u00e1ly staly t\u00e9m\u011b\u0159 k nerozezn\u00e1n\u00ed od jejich digit\u00e1ln\u00ed komprese na obrazovce.\r\n\r\nZ\u00e1sadn\u00edm tematick\u00fdm okruhem Kova\u0159\u00edkov\u00fdch d\u011bl je antick\u00e1 mytologie, jej\u00ed\u017e specifickou reinterpretac\u00ed vznikaj\u00ed bez\u010das\u00e9 v\u00fdjevy hledaj\u00edc\u00ed potenci\u00e1l zrcadlit t\u00e9mata dne\u0161n\u00ed doby. Autora zaj\u00edm\u00e1 archetyp\u00e1ln\u00ed podstata p\u0159\u00edb\u011bh\u016f, kter\u00e9 stoj\u00ed v pozad\u00ed na\u0161\u00ed civilizace, a v\u011b\u0159\u00ed, \u017ee jejich pochopen\u00ed m\u016f\u017ee v\u00e9st k porozum\u011bn\u00ed sou\u010dasn\u00e9mu sv\u011btu. Na jeho obrazech se objevuje pantheon klasick\u00fdch bo\u017estev, hrdin\u016f a mytologick\u00fdch postav, jako je Herkules, Afrodita, Persefona, Prom\u00e9theus, Sysifos, Teiresias a mnoho dal\u0161\u00edch, kter\u00e9 jsou ale zbaveny historick\u00e9ho patosu, a naopak je zd\u016frazn\u011bna jejich intimita, t\u011blesnost a zranitelnost. Kova\u0159\u00edka zaj\u00edm\u00e1, jak tyto d\u011bdi\u010dn\u00e9 ideologie a m\u00fdty udr\u017euj\u00ed vzorce \u00fatlaku a\u017e do dne\u0161n\u00edch dob.\r\n\r\nAutor\u016fv mal\u00ed\u0159sk\u00fd styl je, jak ji\u017e bylo zm\u00edn\u011bno, atraktivn\u00ed svou srozumitelnost\u00ed. Patrn\u00e9 odkazy na historick\u00e9 um\u011bleck\u00e9 sm\u011bry vytv\u00e1\u0159ej\u00ed dojem bl\u00edzkosti a \u010ditelnosti, ani\u017e by ov\u0161em nab\u00fdvaly jednozna\u010dn\u00e9ho ur\u010den\u00ed. Kova\u0159\u00edk ve sv\u00fdch referenc\u00edch apropriuje jednotliv\u00e9 v\u00fdtvarn\u00e9 styly a p\u0159etv\u00e1\u0159\u00ed je do osobit\u00e9ho v\u00fdrazu. Martin Dr\u00e1bek p\u00ed\u0161e o mo\u017enosti div\u00e1ka \u201ez\u00fa\u010dastnit se hry, kter\u00e1 se odehr\u00e1v\u00e1 v d\u016fv\u011brn\u011b zn\u00e1m\u00e9m, a tedy bezpe\u010dn\u00e9m historick\u00e9m koridoru. Z\u00fa\u010dastnit se intelektu\u00e1ln\u00edho procesu, kter\u00fd prost\u0159ednictv\u00edm nijak doslovn\u00fdch stylov\u00fdch pr\u016fsak\u016f provokuje ke znaleck\u00e9mu rozpom\u00edn\u00e1n\u00ed\u2026\u201c (Dr\u00e1bek 2024).\r\n\r\nKova\u0159\u00edkovy obrazy jsou charakteristick\u00e9 velk\u00fdmi form\u00e1ty, kter\u00e9 \u010dasto p\u0159esahuj\u00ed \u017eivotn\u00ed m\u011b\u0159\u00edtko. Monument\u00e1ln\u00ed rozm\u011br umoc\u0148uje fyzick\u00fd \u00fa\u010dinek obraz\u016f i t\u011blesnost figur, je\u017e b\u00fdvaj\u00ed zasazeny t\u011bsn\u011b k okraj\u016fm. N\u011bkdy se dokonce zd\u00e1, \u017ee jsou jimi utla\u010dov\u00e1ny \u010di z nich vystupuj\u00ed ven (<em>Eros a Psych\u00e9<\/em>). Prostorov\u00e9 pl\u00e1ny se v Kova\u0159\u00edkov\u00fdch kompozic\u00edch propojuj\u00ed do jedn\u00e9 vrstvy, \u010d\u00edm\u017e miz\u00ed tradi\u010dn\u00ed hloubkov\u00e1 perspektiva. Obrazy jsou charakteristick\u00e9 line\u00e1rn\u011b ohrani\u010den\u00fdmi plochami vypln\u011bn\u00fdmi hladkou nerealistickou barevnost\u00ed s jemn\u00fdmi, jakoby digit\u00e1ln\u011b plynul\u00fdmi p\u0159echody. Tyto \u201ewebdesignov\u00e9 gradienty\u201c (V\u00edtkov\u00e1 2024) p\u0159ipom\u00ednaj\u00ed vizu\u00e1ln\u00ed jazyk sou\u010dasn\u00e9 digit\u00e1ln\u00ed kultury \u2013 od webov\u00fdch str\u00e1nek a\u017e po textov\u00fd template na Instagramu. Hladk\u00e9 barevn\u00e9 plochy pak um\u011blec \u010dlen\u00ed pomoc\u00ed struktury, kdy v ur\u010dit\u00fdch m\u00edstech na pl\u00e1tno aplikuje barvy sm\u00edchan\u00e9 s p\u00edskem.\r\n\r\nFigury jsou deformovan\u00e9, jejich proporce zkreslen\u00e9, p\u016fsob\u00ed monument\u00e1ln\u011b a socha\u0159sky. Jsou robustn\u00ed, svalnat\u00e9, \u010dasto v napjat\u00fdch nebo zkroucen\u00fdch pozic\u00edch, je\u017e evokuj\u00ed z\u00e1pas s vlastn\u00edm t\u011blem i s prostorem, kter\u00fd je obklopuje. V n\u011bkter\u00fdch kompozic\u00edch postavy, jak ji\u017e bylo vzpomenuto, jako by byly p\u0159\u00edli\u0161 velk\u00e9 pro r\u00e1m obrazu, nar\u00e1\u017eely na jeho hranice nebo se z nich cht\u011bly vymanit. Tento form\u00e1ln\u00ed princip vyvol\u00e1v\u00e1 dojem existenci\u00e1ln\u00ed t\u00ed\u017ee, j\u00ed\u017e mus\u00ed Kova\u0159\u00edkovy postavy \u010delit. Toto nap\u011bt\u00ed je vyva\u017eov\u00e1no harmonickou, klasicizuj\u00edc\u00ed kompozic\u00ed, kter\u00e1 lad\u00ed s melancholick\u00fdm rozpolo\u017een\u00edm postav a zm\u00edr\u0148uje vnit\u0159n\u00ed dramati\u010dnost obrazu. Stylov\u011b i n\u00e1m\u011btov\u011b s jeho obrazy koresponduj\u00ed i jeho akrystalov\u00e9, bronzov\u00e9 \u010di betonov\u00e9 reli\u00e9fy a sochy. Sochy Kova\u0159\u00edkovi umo\u017e\u0148uj\u00ed p\u0159ekro\u010dit u\u017e tak monument\u00e1ln\u00ed m\u011b\u0159\u00edtko jeho obraz\u016f a realizovat figury v n\u00e1sobn\u00fdch nad\u017eivotn\u00edch velikostech.\r\n\r\nZ mno\u017estv\u00ed stylov\u00fdch odkaz\u016f v um\u011blcov\u00fdch obrazech lze rozpoznat nap\u0159\u00edklad siln\u00fd vliv Picassov\u00fdch d\u011bl z neoklasicistn\u00edho obdob\u00ed, a to p\u0159edev\u0161\u00edm v monument\u00e1ln\u00edm a socha\u0159sk\u00e9m pojet\u00ed figur, antikizuj\u00edc\u00ed stylizaci tv\u00e1\u0159e a vlas\u016f. Znateln\u00e9 jsou rovn\u011b\u017e vlivy n\u011bmeck\u00e9ho hnut\u00ed Neue Sachlichkeit \u2013 zejm\u00e9na mal\u00ed\u0159ky Tamary de Lempick\u00e9 \u2013 ve vyu\u017e\u00edv\u00e1n\u00ed ostr\u00fdch lini\u00ed, hladk\u00fdch barevn\u00fdch ploch a tak\u00e9 v kompozi\u010dn\u00edm pojet\u00ed, kdy postavy vypl\u0148uj\u00ed velkou \u010d\u00e1st pl\u00e1tna. D\u00e1le tu lze nal\u00e9zt ozvuky mexick\u00fdch muralist\u016f Diega Rivery a Jos\u00e9ho Clemente Orozca, ale i modernist\u016f, jako byli Henri Rousseau, Paul Gauguin, Henri Matisse \u010di Tarsila do Amaral. Z\u00e1padn\u00ed galerist\u00e9 pak upozor\u0148uj\u00ed i na form\u00e1ln\u00ed p\u0159\u00edbuznost s monument\u00e1ln\u00ed estetikou socialistick\u00e9ho realismu \u2013 s jeho t\u011b\u017ek\u00fdmi, heroizovan\u00fdmi t\u011bly a sugestivn\u00ed plasticitou. S\u00e1m Kova\u0159\u00edk v\u0161echny tyto odkazy sp\u00ed\u0161e ne\u017e jako p\u0159iznan\u00e9 citace vn\u00edm\u00e1 jako v\u00fdchoz\u00ed materi\u00e1l pro vlastn\u00ed synt\u00e9zu. Jeho pr\u00e1ce spojuje d\u011bdictv\u00ed modernismu, klasicistn\u00ed c\u00edt\u011bn\u00ed a sou\u010dasn\u00fd vizu\u00e1ln\u00ed jazyk v jednotn\u00fd, okam\u017eit\u011b rozpoznateln\u00fd rukopis.\r\n\r\n&nbsp;\r\n\r\n<em>Zdroje<\/em>:\r\n\r\nMonika \u010cejkov\u00e1, What is the Post Social Media Painting, and, what is Art in the Digital Age?, in: Jan Gajdu\u0161ek (ed.),<em> Corporate Bodies<\/em> (Praha: PositiF, 2020), s. 16-18: https:\/\/www.monikacejkova.com\/publications\/2021\/1\/3\/corporate-bodies-essay-what-is-the-post-social-media-painting-and-what-is-art-in-the-digital-age, vyhled\u00e1no 20. 10. 2025.\r\n\r\nMartin Dr\u00e1bek, Anatomie antropocentrick\u00e9 l\u00edtosti, in: Art and Antiques 23, \u010d. 8-9 (2024), 72-73: https:\/\/www.artantiques.cz\/anatomie-antropocentricke-sebelitosti, vyhled\u00e1no 15. 10. 2025.\r\n\r\nMartina V\u00edtkov\u00e1, Vojt\u011bch Kova\u0159\u00edk: <em>Od lini\u00ed k hmot\u011b<\/em> (Pa\u0159\u00ed\u017e: Galerie Derouillon; Museum Kampa, 2024), s. 14.\r\n\r\n&nbsp;\r\n\r\n&nbsp;","date":2025,"authors":[151388]}],"artworks":[151485,151483,151481,151479,151477,151475,151512,151510,151508,151506,151504,151502,151491,151493,151495,151497,151500],"videos":""},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - 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