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Artlist — Center for Contemporary Arts Prague

Zdena Kolečková

First Name
Zdena
Surname
Kolečková
Born
1969
Birth place
Ústí nad Labem
Place of work
Ústí nad Labem
Keywords
object
painting
CSU Library
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About artist

The work of Zdena Kolečková is closely linked with the region of Northern Bohemia (Ústí nad Labem), where the artist was born and where she still lives and works. She repeatedly touches upon controversial themes in Czech history, especially the expulsion of Germans from the former Sudetenland at the end of the Second World War. Her interest in the vexed issues of this country’s history is undoubtedly influenced by the German-Polish origin of her grandmother.

 

During the 1990s, Kolečková’s work was concerned mainly with the issue of the insertion of symbolism and ritual elements into the profane framework of contemporary society.  (Vivisection, 1996 onwards). The act of vivisection, which involves operations on living animals without anaesthetic, takes place within the sterile environment of the laboratories of scientists who protect the independence of their institutions fiercely. The general public must learn nothing about the experiments taking place, which is why they are separated by thick walls that prevent the shrieks of the animals being operated on from being heard. The ritual aspect of the removal of the animals’ internal organs is lost within the context of modern scientific discourse, and the significance of the regenerative power of blood thus fades. Kolečková underscores the inability of secularised society to understand the symbolic dimensions of events and actions that place the life of a person within the framework of human society maintaining very close bonds with the surrounding natural world. The obverse of this, the manifestation of violence in contemporary society, is undoubtedly related to this inability. This violence is unobtrusive and its secrecy often involves a high level of psychological sophistication.

 

As well as paintings using animal blood and monochromatic paintings in which she includes details of dilapidated buildings in the Ústí nad Labem region (Shelters, 2003), Kolečková is intent on developing the multi-expressive potential of photography. The medium of photography allows the artist to abstract a certain segment of reality and reduce it to a symbol in which condensed visual information acts as the detonator of an openness and plurality of meanings (Just a Story, 1999-2000). For instance, her detailed pictures of the fate of mining equipment from the coalmines of Northern Bohemia, combined with panoramic shots of mining headframes, can be interpreted in different ways: as referring directly to events linked with coalmining in Northern Bohemia, and as a universalising metaphor for an alienated technical civilisation.

 

In the 2000s, the artist’s work shifted from a simple intimation of the possibilities of a story toward the untangling of its complex texture. She herself often finds herself within a situational framework reflecting the contents of the dramatic past of the border region of Northern Bohemia. In her photographic cycle Tears (2008) she undergoes a purgative ritual when writing the text of the poem of the same name by the Russian poet of German origin Zinaida Nikolajevn Gippius. The internalisation of the experiences of the poem’s contents, accompanied by the dropping of tears onto the page, results in a disruption of the original narrative sequence and a confrontation with the emotional memory of the artist herself.

 

The temporally unlimited installation Luftschutz (antiaircraft defence) anchors the significance of a preserved German inscription located on the facade of one building in Ústí nad Labem within new, often unexpected contexts. The inscription is installed in countries that fought against each other in the Second World War. Kolečková transcribes the inscription in the form of a mural (Graz, Austria, 2005) or using adhesive film (Pejȅ, Kosovo, 2006, Gdansk, Poland, 2007, Ústí nad Labem 2008, New York, USA, 2010).

 

In other projects the artist examines the insidious penetration of the evil linked with Nazi ideology into the intimate sphere of the family (the cycle of digital photos Wunderland, 2007). An unpleasant feeling is created from the discovery that the saboteur is a family member. In her photographic series On Faust (2007), Kolečková uses a dual metaphor of the experience and redemption of guilt, firstly within the narrow context of the events of the Second World War, and secondly within a general context that transcends the particular.

 

Kolečková’s work reveals the inconsistency between personal history and memory and the written history of a nation and its collective memory. A fateful influence on the life and personal history of the individual can be had by a striking constellation of historical events in which the main role is not taken by a grand narrative but by the unobtrusive power of minor stories. Memory wants to be heard at the moment we least expect, since personal experience is rarely included in the agenda of officially approved historical events. Kolečková records the blind spots on the map of our national and local histories and the histories of other countries in parallel.

Author of the annotation
Šárka Slaninová / Jírová

Published
2012

CV

Studies:
1993-1996 Academy of Applied Arts, Architecture and Design, Prague
(Adéla Matasová)
1988-1994 Institute of the Art Education at theThe Faculty of Education, Ústí nad Labem

Exhibitions

Solo exhibitions
2014
In One Breath. Arsenal Gallery Bialystok, Polsko
2013
Lyrická mezihra. Dům umění města Brna
2009
Remember ME. Kunstbahnhof Gallery Drážďany, Německo (s Radkem Fridrichem a Susan Donath)
Zdena Kolečková: Odejdeš-li, změním se?, Ateliér Josefa Sudka, Praha

2003
Sweet Secret. Galerie G 99 Brno

2002
Bifúzia. (s P. Fichtou-Čiernou), Galerie Emila Filly Ústí nad Labem;
Galéria Jána Koniarka Trnava, Slovensko
Sweet Secret. Dům umění České Budějovice

2000
Just a Story. Galerie Malá Špálovka Praha; Galerie G 99 Brno (katalog)

1999
Safe in their Alabaster Chambers. Miroslav Kraljevič Gallery Zagreb, Chorvatsko;
SG 2.0 Gallery Split, Chorvatsko;
Kovačka 3 Gallery Dubrovnik, Chorvatsko
Comme Elle. Galerie U Bílého jednorožce Klatovy

1996
Vivisekce. Galerie U Dobrého pastýře Brno

1995
Otisky. Galerie Suterén Ústí nad Labem

1994
Znamení. (s J. Géringovou), Galerie Emila Filly Ústí nad Labem
Group exhibitions not included in ARTLIST.
2015
Ze středu ven - Umění českých a moravských regionů. Kunsthalle/Hala umenia Košice, Slovensko
2014
Někdy v sukni. Umění 90. let. Moravská Galerie Brno; Galerie hlavního města Prahy, Dům U Zlatého prstenu Praha
Mody demokracie. DOX - Centrum současného umění Praha
Zóna v pohybu. DOX - Centrum současného umění Praha
Nový zlínský salon. Krajská galerie výtvarného umění, ZlínZe středu ven - Umění regionů 1985-2010. Západočeská galerie, Výstavní síň Masné krámy Plzeň
On Generation and Corruption. BWA Contemporary Art Gallery Katowice, Polsko

2013
Kde domov můj? DOX - Centrum současného umění Praha
2012
Paralelní historie. GASK – Galerie Středočeského kraje Kutná Hora
Univerzita Předlice. Výstava studentů a pedagogů FUD UJEP, Národní galerie – Sbírka moderního a současného umění Praha
Passing Memories. Art Workshop Lazareti Dubrovnik, ChorvatskoThere is Nothing There. Czech Center New York, USA

2011
Rytmika Cwiczeń. BWA Contemporary Art Gallery Sokol Nowy Sacz, Polsko
Luciferův efekt. Střetnutí se zlem. DOX - Centrum současného umění PrahaParalelní historie. Severočeská galerie výtvarného umění Litoměřice
Folge der Generationen. Motorenhalle Gallery, Drážďany, Německo

2010
Formate der Transformation 89-90. Museum auf Abruf - MUSA Vídeň, Rakousko
Hra na náhodu. Galerie Emila Filly Ústí nad Labem
Inter-view. Nitrianska galéria Nitra, Slovensko
Tvoření světů. Galerie NF Ústí nad Labem
100 let Domu umění města Brna. Dům umění města Brna, Galerie G99 Brno
2009
Formáty transformace 89-90. Dům umění města Brna; Dům pánů z Kunštátu Brno
Behind the Velvet Curtain. Katzen Art Center at American University Washington, DC, USA
On the Tectonics of History. ISCP New York, USA
Rebus sic stantibus. Galerie Emila Filly Ústí nad Labem
Place in Heart. Galerie Emila Filly Ústí nad Labem

2008
Place in Heart, Galeria Arsenal, Białystok

2006
K tektonice dějin / Zur Tektonik der Geschichte, Galerie Emila Filly, Ústí nad Labem

2005-2006
Public Dreams, Ústí nad Labem, Ústí nad Labem

2005
Širší proud. Čtrnáct osobností současného vizuálního umění ze severu Čech, Galerie města Plzně, Plzeň
Místa paměti, Galerie Šternberk, Šternberk

2003
Gute Fahrt fuer… Goethe Institut Praha

2002
In Focus: Homemaker. Gliptoteka HAZU Zagreb, Chorvatsko
Politik-um. Tereziánské křídlo Pražského hradu, Nadace pro současné umění Praha
Short Message Strategy. Galerie Šternberk

2001
Borders-Suspence. City Gallery Slavonski Brod, Chorvatsko
Kolmo k ose II. Dům umění Opava

2000
Devadesátka pokračuje. Muzeum města Ústí nad Labem
East of Eden. Cultural Centre Castle Poznan, Polsko;
Wyspa Gallery Gdansk, Polsko
Melancholie. Moravská galerie Brno

1999
Umění pro zvířata. Galerie Sýpka, Vlkov
Public District. veřejné prostory v Ústí nad Labem
Ostrava x Ústí. Galerie Jáma X, Ostrava

1998
Snížený rozpočet. Galerie Mánes Praha
Black and Blue. Kovačka 3 Gallery Dubrovnik, Chorvatsko

1997
I. zlínský salon mladých. Státní galerie Zlín
Okresní formát. Galerie Emila Filly Ústí nad Labem
Ústí není tak daleko. Galerie Sýpka Vlkov
Sever, Galerie Václava Špály Praha
Umělecké dílo ve veřejném prostoru /Artwork in Public Space, Národní galerie, Veletržní palác Praha

1995
Soukromá anamnéza / Private Anamnesis, Kostel sv. Vojtěcha/ Church of St. Adalbert, Ústí nad Labem
Alert Aestetics, Big Orbit Gallery, New York
Americké obchodní a kulturní středisko, Praha

1995
Zkušební provoz / A Test Run, Mánes Praha
Prostory časů / Spaces of Times, Galerie Půda, Olomouc

1993
Identifikácia v priestore a čase / Identification in Space and Time, Galéria Z. H. Bazovského, Trenčín
Kostel sv. Vojtěcha/ Church of St. Adalbert, Ústí nad Labem

Monography

Monography

Lyrická mezihra. Koleček, M.; Petišková, T. FUD UJEP;Ústí nad Labem, 2013.


It´s awful not to live but only sleep Kolečková, Z.; Koleček, M.; Pachmanová, M.; Vartecká, A. FUD UJEP;
Ústí nad Labem, 2009.


Just a Story Pachmanová, M. Galerie Václava Špály Praha 2000.

Photo

Center for Contemporary Arts Prague www.fcca.cz 2006–2017
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