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Until March 7, you can visit the unique group exhibitions of new and digital media "Chimera" in the Ladislav Sutnar Gallery.
The Ladislav Sutnar Faculty of Design and Art and the Ladislav Sutnar Gallery invite you to the opening of the Integrated Photography exhibition, which will take place on Wednesday 11 December from 6 pm.
The Ladislav Sutnar Gallery and the Ladislav Sutnar Faculty of Design and Art of the University of West Bohemia cordially invite you to the opening of an exhibition "Circular Defence", which will take place on Wednesday, November 6th at 6 pm.
Until October 26, you can visit the selected collection of student works from the last 4th year of the CS.KOMIKS.17 competition in the Ladislav Sutnar Gallery. Photos from the exhibition opening can be found on FB profile GALLERY LADISLAV SUTNARA.
The group exhibition "The World of Tomorrow" brings together original artwork of the influential Czech designer and artist Ladislav Sutnar(1897–1976) with the work of exceptional talents from SUTNARKA: Ladislav Sutnar Faculty of Design and Art at the University of West Bohemia. The Ladislav Sutnar Gallery and Ladislav Sutnar Faculty of Design and Art cordially invite you to the Exhibition opening on wednesday, September 25th, 2019, from 6 to 8 pm.
Mr. Josef Mistera, dean of Ladislav Sutnar Faculty of Design & Art at the University of West Bohemia and Curator Jan Van Woensel put together an eye-catching selection of works of the student's June 2019 Klauzury presentations. The exhibition covers the fields of mobility design, interior design, ceramics, painting, photography, installation, graphic design, children's book design and much more. The Klauzury "after party" aims to present an emerging generation of new artists and designers in a professional exhibition context.
Photo: Said Ismail
Until June 8, 2019, a collective exhibition Shapes can be visited at the Ladislav Sutnar Gallery.
The Hollar Foundation, the Ladislav Sutnar Gallery, the Ladislav Faculty of Design and Art and the SUTNAR Foundation are the organizers of a very unique exhibition entitled "Graphics of the Year" which is on display at the Ladislav Sutnar Gallery until 27th of April.
THE LADISLAV SUTNAR GALLERY AND THE LADISLAV SUTNAR FACULTY OF DESIGN AND ART CORDIALLY INVITE YOU TO THE EXHIBITION The Calling.
Beginning his career in the 1960's, Vito Acconci's (1940 – 2017) approach to poetry was spatial. He described the blank page as a space for action that changes irreversibly with the introduction of the first word. The continuously complexifying spatial and conceptual dynamics intensify each time the poet ads a word or punctuation. While none of them can be divorced from a set of connotations of their own, their relational situation is identified by interconnectivity and hyper-complexity. Acconci's daedal and analogue processes of spatial writing inspired a then up-and-coming generation of artists engaged in computational creativity. Crowning the zeitgeist of technological optimism of that decade, the London-based exhibitions "Ideographs" (1962, Reid Gallery) and "Cybernetic Serendipity" (1968, ICA) revolutionized the art world. Alongside the drawing machines by Desmond Paul Henry, the displays included pioneering works of algorithm art, cybernetic sculptures, early artificial intelligence machines that could write poetry, computer graphics produced through oscilloscopes, works of biomorphism and behavior-based robotics. In this first generation of computer art, programmers became artists and artists became programmers to experiment with the computer's creative possibilities.
Among these revolutionaries was the Czechoslovak artist Zdeněk Sýkora (1920 – 2011). Throughout his life and career Sýkora was dedicated to the exploration of what he described as the "method of controlled randomness". Traditionally, in the process of art making decisions arise from combined emotional and rational human sources; taste, experience, control, impulse, experimentation, self-challenge, self-imposed rules, disruption of order (...). In 1964 in collaboration with mathematician Jaroslav Blažek, Sýkora introduced the computer as his preferred conductor for leading the idea to the image. Here, he intended to examine the alternatives of relative positions of pictorial elements according to computer-programmed rules that go beyond the visionary capacity of the human brain. "I am standing in an open field; all directions are open; the light and wind are coming in from all sides," the artist once said in an interview; metaphorically refering to how (his) art is not confined by the edge of the painting, but continues in all directions. Zdeněk Sýkora's for that time highly remarkable approach to painting corresponds to Vito Acconci's spatial poetry.
Artist and theoretician Jaroslav Vančát (1949) was a student of Zdeněk Sýkora at the Faculty of Philosophy of Charles University in Prague between 1968 and 1974. He witnessed the tail end of the aforementioned 1960's computer-art wave and gained influential insight into this era through the first-hand experiences of his mentor. Jaroslav Vančát's 2019 solo exhibition "IMAGESTRUCTURE" at Galerie Ladislava Sutnara in Plzeň displays a selection of fifteen new prints of digitally produced paintings, an interactive installation that allows the visitor to create his own painting on-site, and a remake of an in 1997 first staged mutational performance titled "Structural Mandala". Vančát's analytical approach to the work of art, as well as to the process of the making of art is symptomatic. In a self-reflective introductory text, the artist remarks that "unlike Sýkora, for whom the computer was an optional supporting tool to create art, my art-making practice is impossible without this tool". Although this observation is undoubtedly relatable to his digital and interactive non-statical paintings, "IMAGESTRUCTURE" surprises the visitor by the restaged performance's physicality and the forming of the temporary community that it ultimately provokes. The performance can be best described as an externalized, physical and live translation of a computer program that follows a set of rules that affect the participants in their behavior. These rules imitate preprogrammed algorithms. Keeping the confined space of such proposed algorithm in mind, the participants in this performance are to a certain degree given artistic freedom and are granted with shared authorship. In other artworks, tangible tension between artistic control and release can be recognized. "IMAGESTRUCTURE" displays mounted prints of digital images that due to the virtually inexhaustible nature of algorithmic computational strategies appear as residues of a process. These works enter the discourse of art differently than, for instance, the displayed interactive installation that allows the exhibition goer to create and print his own digital painting in the gallery. The interacting person becomes an unprescribed and uninfluenced generator of equally important images; hierarchy is exiled. Here, both the demystification and the democratization of the process of art making within the prewritten matrix of the computer program are remarkable inclusive qualities. The artist's grass roots approach to digital art is in some way nostalgic and announces the dynamics of relational aesthetics, interconnectivity and social change, as well as, albeit to a lesser degree, the surrendering of the author's position as the sole protagonist to a shared socio-technological experience as a form of meta-transition.
The exhibition "IMAGESTRUCTURE" sheds insightful light on Jaroslav Vančát's career as an artist and theoretician who has been committed to the exploration of the boundaries of interactive and digital art for four decades. We ambition the exhibition to be a place for debate through its apparent vicissitude that roams free within the predescribed set of rules. Via strategies of inclusion we ultimately create a shared virtual memory of the artwork of Jaroslav Vančát; one that is non-programmable and unrestrainable.
Jan Van Woensel, 2019
Curator of Galerie Ladislava Sutnara
Plzeň, Czech Republic
Until February 2, the Ladislav Sutnar Gallery displays a unique exhibition named EXTYPO, which offers an unusual view on the free creative work of Rostislav Vaňek, who belongs to the prominent personalities of Czech graphic design.
The current exhibition Chinese Characters1 Poster in the Czech Republic presents a collection of about 100 posters from 80 designers from three different Chinese regions –
Peking, Macao and Taiwan. The purpose of this exhibition is to present and share the Chinese culture through Chinese characters. The collection of exhibited author posters emphasizing local Chinese designers, whose artworks will be confronted with those of Czech graphic designers, is a result of the collaboration of Chinese curator and graphic designer Li Xu and Czech curator Lenka Sýkorová with the team of The Ladislav Sutnar
Gallery in Pilsen. The exhibition includes presentations of artists at the Ladislav Sutnar Faculty of Design and Art of the University of West Bohemia in Pilsen and at the Faculty of Art and Design of Jan Evangelista Purkyně University in Ústí nad Labem.
This is the first Chinese poster exhibition in the Czech Republic on such a large scale. Artists clearly express themselves through posters with a written and visual message. It is the work with Chinese characters that is the most important in this exhibition because it shows the difference between typographic traditions in Western Europe and in the Far East, specifically in China. Chinese characters emphasize a silent visual language that quietly expresses its idea. The combined physical and mental power of calligraphy is the main message of the exhibition.
The exhibition presents three local regions. The first region is represented by a collection of posters of designers from Beijing and other cities. It includes 20 posters of Li Xu, Li Hhongy Ang, Chennan, Eric Chan, Zhoufeng, Gary Tong, Jiangjie and others. The specifics of Chinese graphic design stem from a long calligraphic tradition that creates an environment for a humble approach to artwork with respect to previous generations of artists. The contemporary artists thus express Chinese philosophy through a communication medium – an author poster. Calligraphy provides for a unique way of improvisation in writing. It is the most abstract and noble art in Chinese culture. It combines
art and Chinese philosophy. The Chinese ink technique creates an artwork based on an idea by clearly articulating the artist's artistic signature. The painting or drawing reflects the artist's nature. What is important here is the mental exercise – the mind and body coordination – in order to convey the content in the best possible form, which is not common in the European visual art culture.
Macao is the second presented region that is represented by 16 designers - Ck Chiwai Cheang, Bob Lei, Hong Ka Lok and others. Posters from Macao are exhibited in the Czech Republic for the first time and thus provide a picture of Macao's graphic design that shows a high international level. The third part of the exhibition presents posters of Taiwanese designers – Horng-Jer Lin, Ling-Hung, Sophia Shih, Ming-Lung Yu, Wei-Che Sun, Fang-Pang Chang, Sameta Tseng and others – who show the beauty of Chinese characters.
Their artwork transforms words into visual symbols that combine form, color and meaning with respect to ancient tradition. While looking back into the past, contemporary Chinese graphic designers open themselves up to International cooperation and thus reform Chinese characters and interpret their conceptual beauty in a new light. At the exhibition they use Chinese characters as a basic concept for their posters. Chinese characters are
living graphics that tell everyday-life stories. Chinese characters visually communicate and thus build bridges between people.
Photo by Said Ismail
Li Xu and Lenka Sýkorová
The Media and Didactic Illustration Studio at the Ladislav Sutnar Faculty of Design and Art maps the history of Pilsen, a Bohemian settlement, from the Stone Age to the present day through illustrations and short texts under the guidance of Renáta Fučíková. At the same time, students reveal and present the history of the Chicago district named Pilsen, founded by Czech emigrants and inhabited by a Mexican community today. The exhibition itself is part of the accompanying programme of the Liberation Festival 2018 and, as a traveling project, will be exhibited in Chicago in the summer, in Washington in the fall, and subsequently in other cities of the USA and the Czech Republic.
9. - 26. 5. 2018
Apples are love Eggplants are war. Unique experimental project by Richyrd Conte in cooperation with gardeners in Versailles is presenting for the first time in Czech Republic.
An extensive exhibition at the Ladislav Sutnar Gallery presents Sutnar´s work in the field of book design