René Hábl

René Hábl belongs to the generation of artists who commenced their studies at the Academy of Fine Arts in Prague towards the end of the Communist era of totalitarianism and graduated in the new period of freedom, which was just searching for its “own identity” in the fast changing political changes taking place under full continuing operations. During his studies, the artist experienced the transformation process that not only society but also the oldest art university in the Czech Republic were going through. The tracks and reverberations of these “great metamorphoses” became the basic motive of Hábl’s painting work, which is characteristic for depicting a process, integrative and disintegrative motion of motives, alternating painted and distant handwriting and primarily the intuitive abolition of the boundary between the so-called abstract expression and figuration.

Hábl’s oldest works from the beginning of the 1990s are based on a landscape and reveal the teaching influence of František Hodonský. In these works, we can see how the artist was coming to terms with the modernistic transposition of a landscape area to the reductive position of a symbol and structure (works from the years 1991-1994). During the year 1995 Hábl goes through an interiorization of his abstract expression and through a gradual diversion from geometric to organic expression. There is also an increased interest in colour and its degree of light. His compositions are first increasingly dramatic and complicated, while later their colours become lighter and his shapes calmer (works from 1996-1999). The second fundamental breaking point in Hábl’s painting work was in 2001 when his paintings started to show the motive of a figure, or better still “motive making a reference to a figure”, which becomes the substitutional symbol for any form of life, including “the life of technology”. The figure is a sort of metaphor for lifelikeness and activeness operating across the known, as well as unknown world. Hábl opens up a new phase of artwork, which intuitively covers the boundary between figuration and abstraction by focusing on searching for new image forms of action and plot. The morphology of this ongoing movement has anthropological attributes but it is not unequivocally anchored in the figuration. It demonstrates rather a closeness to futurological vision and technical imagination.

The area of a painting is built as instable and pulsing elastic surface, which doomfully changes colour and deforms the anthropological symbols – it suppresses them, stretches them, covers them, defocus them, etc. It is as if we have fallen into the middle of an artificial world of data, which reveals and simulates the mechanics of what is happening in our subconscious and transfers it to the constellations of analogical cosmic processes – Micromegas. The large in small and the small in large. Divinity and myths translated to a post-cybernetic language, the syntax of which is just becoming stabilized.

Sympozia: 2011    Sochařské sympozium, Milotice 2007    Sochařské sympozium (travertin), Třinec 2004    Sochařské sympozium, Milotice 2003    Sochařské sympozium, Milotice Pedagogická činnost / Praxe: Od 1994        Zlínská soukromá vyšší odborná škola umění – výuka malby Od 2013        Creative Hill College, Střední škola filmová, multimediální a počítačových technologií - výuka kresby a malby Od 2012        Univerzita Palackého v Olomouci - výuka malby 1998–2011   Vysoká uměleckoprůmyslová škola v Praze – výuka figurální kresby 1996–1997      Vyšší odborná škola filmová Zlín – výuka kresby a malby 1994–1995   Střední uměleckoprůmyslová škola v Uherském Hradišti – výuka figurální kresby

Petišková, Terezie – Veselý, Petr: Zlatý věk. Reminiscence kubismu v současném výtvarném umění (výstavní katalog), Dům umění města Brna, Brno 2014, 4 s. Koleček, Michal (ed.): Ze středu ven. Umění regionů 1985-2010 (výstavní katalog), UJEP Ústí n. Labem 2014, 93 s. Koval, Miroslav: Meta-poloha malby (výstavní katalog), Galerie Jiřího Jílka, Šumperk 2013. Vaňous, Petr: René Hábl/ MIKROMEGAS (katalog), Galerie Ars, Brno, 2012, 159 s. Vaňous, Petr: Fundamenty & Sedimenty (výstavní katalog), Galerie hl. m. Prahy, Praha 2011, nestr. Vaňous, Petr: INtroCITY Nukleární rodina (výstavní katalog), Topičův salon, Praha 2008, nestr. Ševeček, Ludvík: René Hábl (heslo), in: Horová, Anděla (ed.): Nová encyklopedie českého výtvarného umění – DODATKY, Praha 2006, s. 254. Valoch, Jiří: První výstava (výstavní katalog), Studio 6.15, Zlín 2004. Ševeček, Ludvík – Horňáková, Ladislava – Sedláček, Ivo: 50 let zlínské galerie/ 50 Years of the Zlín Gallery (výtavní katalog), Krajská galerie výtvarného umění ve Zlíně, 2004, 133 s. Gabrielová, Bronislava: Třetí Nová zlínský salon jako zrcadlo doby, Ateliér 2002/9, s. 1 a 12. Sedláček, Ivo: René Hábl: Obrazy (výstavní katalog), Státní galerie ve Zlíně – Dům umění, Zlín 1995, (12 s.).

http://www.slovackemuzeum.cz/akce/289/https://www.youtube.com/watch?v=PsD24O5evqkhttp://www.galerie-ars.cz/index.php?option=com_content&view=article&id=65:rene-habl-micromegas&catid=1:vystava&Itemid=1http://ckv-ostrava.cz/vystavni_sin/katalogy/HABL.pdfhttp://www.rozhlas.cz/mozaika/vytvarne/_zprava/rene-habl-a-petr-horak-vystavuji-v-ostrave--1007919