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Výtvarné umění dvacátého století, ostatně jako všechno avantgardní umění, se muselo nějak obhájit, najít zdůvodnění své obtížné pochopitelnosti, najít pro sebe svou úlohu. Hledání toho, k čemu je avantgardní umění vlastně dobré, je jedním z největších problémů umění tohoto století i často přehlíženým klíčem k pochopení jeho podstaty.
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Just as any avant-garde art, art of the 20th Century had to vindicate itself somehow, find reasoning of its difficult comprehension, find its own role. Efforts to find out what avant-garde is good for at all are one of the problems of this century’s art and often represent a key to understanding its essence. This issue has been raised both in Europe and in America. The solutions offered, often completely simplifying the matter, were eagerly accepted by entire masses of artists (let’s remind just the 1950‘s). Art was not only backed up by trivial ideology, its arguments included mainly philosophy, religion, psychology, mysticism, art itself, spirituality, “human being“, “inner truth“, “life“, among other things. Aforementioned Jindřich Chalupecký managed to place art’s goal to both modern life and the transcendental. In Bohemia, art’s symbolic feature is of special significance - art exists because it is telling us something, and due to local romantic tradition it is telling it to us in a metaphorical language. This is where its biggest strength lies as well. Naturally, this can be a double edged sword. Czech art if often cast in a veil of unreality, fantasy, imagination, illustration. Art works stumble under the weight of the task of mediator of various stories and symbolic meanings. The Stubborn’s current exhibition lets us see all those features very well.
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Just as any avant-garde art, art of the 20th Century had to vindicate itself somehow, find reasoning of its difficult comprehension, find its own role. Efforts to find out what avant-garde is good for at all are one of the problems of this century’s art and often represent a key to understanding its essence. This issue has been raised both in Europe and in America. The solutions offered, often completely simplifying the matter, were eagerly accepted by entire masses of artists (let’s remind just the 1950‘s). Art was not only backed up by trivial ideology, its arguments included mainly philosophy, religion, psychology, mysticism, art itself, spirituality, “human being“, “inner truth“, “life“, among other things. Aforementioned Jindřich Chalupecký managed to place art’s goal to both modern life and the transcendental. In Bohemia, art’s symbolic feature is of special significance - art exists because it is telling us something, and due to local romantic tradition it is telling it to us in a metaphorical language. This is where its biggest strength lies as well. Naturally, this can be a double edged sword. Czech art if often cast in a veil of unreality, fantasy, imagination, illustration. Art works stumble under the weight of the task of mediator of various stories and symbolic meanings. The Stubborn’s current exhibition lets us see all those features very well.
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