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vup aaad

Transparency Nation

atelir skla Ronyho Plesla Rony Plesl glass studio

Transparency Nation 130 Ju ne 2011

glass studio aaad prague

atelir skla vup praha rony plesl pavel karous klra horkov antonn votruba filip dobis hana famfulkov alena hjkov kateina handlov takeshi ito wiley jackson luk kalivoda seuljee kim marek matjek michaela mertlov jakub petr tade podrack kristna pojerov pavel skrott kateina smolkov david yule jana eleznkov

Transparency Nation 130 Ju ne 2011

Transparency Nation 1 30 Ju ne 2011

ak. soch. Rony Plesl vedouc ateliru skla vup praha

Transparency Nation Manifest Rony PleslOtevenost. Toto slovo mi pilo jako nejpesnj k vyjden linie, kterou se ubr atelir skla v poslednch tech letech pod mm vedenm. Otevenost. Stle vce umlc z jinch obor - a v echch je to velice patrn - pouv sklo jako vznamn mdium. Designi, architekti, konceptualist vid ve skle prvem jet neprobdan cesty, jak po strnce formy vtvarnho dla, tak z hlediska mylenky. Sklo prochz obrovskm technologickm a s tm spojenm estetickm vvojem. Je to znt pedevm v oblasti architektury a svtidel. Atelir skla na toto ve reaguje a k siln vtvarn emesln tradici chce pidat vt draz na souasn pojet vtvarnho umn a designu. Sklo je sice ojedinl, a zvlt v echch vjimen fenomn a materil, ale to nen samospasiteln, jak je vidt na mnoha rovinch sklskho kolstv, prmyslu i vtvarn innosti. Toto jsou zkladn dvody, pro jsme pro svoji prvn prezentaci zvolili tak prestin msto, jako je galerie DOX.

Transparency Nation Manifest Rony Plesl

Chceme se dlouhodob srovnvat s tmi nejlepmi, jak v oblasti tzv. volnho umn, tak v oblasti designu. Touto cestou od skla ke sklu, chceme vce otevt n atelir studentm ze vech typ stednch kol a ovlivnit i vvoj a zjem o sklsk obory. Nejdleitj ale je, e ns to bav. Mm radost z atmosfry v ateliru, z vtvarnch i lidskch kvalit mnoha student a z rznorodosti pstup...

ycnerapsnarT tsefinaM noitaN lselP ynoR

Rony Plesl head of the Glass Studio aaad Prague

Transparency Nation Manifest Rony PleslOpenness. An increasing number of artists from different fields have used glass as an important medium, which is very apparent especially in the Czech Republic. Designers, architects, and conceptualists rightly see there are paths in glass yet to be explored, be it the form of the piece of art or its ideas. Glass has seen a huge technological and related aesthetic development. One can tell especially in the field of architecture and light fixtures. The Glass Studio has responded to all of this wanting to complement the strongly artistic and handicraft tradition with a greater emphasis on the current approach to visual arts and design. Glass is a unique and extraordinary phenomenon and material especially in the Czech Republic, indeed, but this is not a panacea as many levels of glass education, industry as well as art show. These are the main reasons why we have selected such a prestigious venue as DOX Gallery for our first presentation. We want to compete with the best in the long run, both in the fields of free art and design. In this way from glass to glass we want to increasingly open our studio to students from all kinds of high schools, and promote the development of and interest in the glass fields of study.

Openness I found this word to most precisely express the line followed by the Glass Studio under my leadership over the past three years.

But most importantly we have been enjoying ourselves. The atmosphere in the studio, both the artistic and human qualities of many students and the variety of approaches make me happy...

Bohat esk kultura umn, architektury a designu sice sah hluboko do historie, avak jej ptomnost natst ije a pulzuje i v souasn esk republice. Jejm hlavnm motorem je vzdlvac systm, kter rozpoznv a vychovv mlad talenty. Skutenost, e se tento systm veobecn dokzal vyrovnat s fungovnm v radikln odlinch politickch realitch, je v nemal me zsluhou po sob jdoucch generac nadanch uitel. Kdy jsem poprv pijel do Prahy v roce 1980, navtvil jsem Vysokou kolu umleckoprmyslovou a nalezl tam podntn spoleenstv uitel a student. V souasnosti, vce ne o 30 let pozdji, je Vysok kola umleckoprmyslov i nadle semenitm mladch talent.

Jsem velice rd, e prce koly byla ocenna vstavou v DOXu, svtovm centru soudobho umn, kter je samo o sob jednm z nejzajmavjch projev esk kulturn identity. Vysok kola byla zaloena v 19. stolet a i v 21. stolet si zachovv svj vznam a podstatu. Nabz vzdln, kter je prvotdn a jeho absolventi spn konkuruj mezinrodnmu svtu designu. Zaslou si pozornost a podporu vech, kte si v tvrho vrazu.

Sklsk designr, akademick socha Rony Plesl, je nejvraznjm pedstavitelem nov generace vtvarnk, kte byli nuceni vzt na vdom nov vzniklou porevolun ekonomickou situaci a vyrovnat se s n, ani by ji postavili do poped a ani by tm zpochybnili hodnotu svho dla. Zkladem prce Ronyho Plesla je kreativn umleck pstup a naprost porozumn materilu, kter zulechuje vdy ve vysok kvalit. V tradici eskho sklskho vtvarnictv vyuv optick vlastnosti skla ve spojitosti s emocionln psobc formou a u se jedn o design, nebo umleck dlo. Ateliru skla na svtoznm Vysok kole umleckoprmyslov v Praze, kter Rony Plesl vede od roku 2008, vtiskl individuln a sv rukopis. Souasn situace vyaduje neotel koncepce. Pi zachovn maximln svobody vrazu jednotlivch student se atelir tedy mus ubrat novou cestou a Rony Plesl jako zkuen a mezinrodn uznvan designr a vtvarnk ukazuje jej smr.

Douglas Heller Eliska Stlting

Douglas Heller

The Czechs rich culture of art, architecture and design stretches far back into history but fortunately it remains a living and vibrant presence in todays Czech Republic. One of its primary catalysts is an educational system which recognizes and nurtures young talent. The fact that this system has generally transcended the challenges of functioning under radically different political realities, is in no small part due to the dedication of successive generations of gifted teachers. When I first came to Prague in 1980, I visited The Academy of Applied Arts and found a stimulating community of teachers and students. Now, more than 30 years later the Academy of Arts, Architecture and Design remains a hotbed of young talent. I am very pleased to see the schools work being honored by an exhibition at DOX, a world class contemporary art center, which is itself one of the most exciting demonstrations of Czech cultural identity. The Academy was founded in the 19th Century and remains relevant and vital in the 21st. It offers an education which is second to none and produces graduates who compete successfully in the international world of design. It deserves the attention and support of all who cherish creative expression.Douglas Heller editel / director of Heller Gallery, NYC

Eliska StltingMgr. Eliska Stlting majitelka Glasgalerie Hittfeld / owner of Glassgalerie Hittfeld

Glass designer and trained sculptor Rony Plesl is the most prominent member of the new generation artists who were forced to take account of the new economic situation in the post-revolution period and come to terms with it without promoting it, and thus taking the value of their work into consideration. Rony Plesls work is based on the complete understanding of material which he always refines in a high quality and with a creative artistic approach. He uses the optic qualities of glass in line with the tradition of Czech glass art, and combines them with emotional form be it design or piece of art.

Rony Plesl has been the Head of the Studio of Glass at the renowned Academy of Arts, Architecture and Design in Prague since 2008 giving it an individual and fresh expression. The current situation requires novel concepts. Thus, the Studio and its individual students must preserve a maximum freedom of expression and go a new way with experienced and internationally acknowledged designer and artist Rony Plesl showing its direction.

Mgr. Milan Hlave, Ph.D., vedouc kurtor sbrky skla a keramiky, Umleckoprmyslov museum v Praze

Atelir skla Milan HlavePionrskou dobu atelir zaval ve 20.-30. letech v dobch jeho prvnho profesora Josefa Drahoovskho. Nezashl pes urit snahy vznamnji do oblasti designu, v nm se dleit vci dly jinde, ale drazem na individuln tvorbu poloil zklady pro budoucnost. V povlench letech atelir vyslal, za psoben legendrnho Josefa Kaplickho, i pes obecn panujc nesvobodu podstatn impulzy mezinrodnmu rozvoji atelirov sklsk tvorby v kontextu soudobho vvoje vtvarnho umn. Podpory se v nm dostalo originalit vrazu budoucch inicitor skuten revoluce, kter sklo smrovala do sfry volnho umn asto dvno ped tm, ne se stalo bnm v jinch koutech svta. Ve stejnm obdob soubn fungujc atelir Karla tipla podpoil vznik modernho designu skla prostednictvm absolvent, kte se uplatnili pedevm jako prmyslov nvrhi. Na sil prce absolvent obou tchto atelir stl fenomenln svtov spch eskho skla as velkch vstavnch pehldek 50.-60. let coby pomyslnch vkladnch skn kulturnch a ekonomickch vsledk tehdejho eskoslovenska. Od poloviny edestch do poloviny let osmdestch atelir veden Stanislavem Libenskm potvrdil slu eskho umleckho skla ve

Atelir skla na prask umleckoprmyslov kole (dnen VUP) je od potku 20. let minulho stolet nezpochybnitelnm hybatelem vvoje eskho a vrazn tak svtovho skla. Jeho vsledky se mnily v zvislosti na okolnostech, kter pinely promny politick, hospodsk a sociln struktury malho stedoevropskho sttu, v prbhu poslednho stolet prodlvajcho do t doby nepedstaviteln turbulence. Vroba a tvorba skla se coby vyspl a exponovan obor s hlubokmi historickmi tradicemi asto stval nstrojem propagandy stdajcch se politickch reim. Zrove se ve vtvarnm pojet skla vrazn odrely dobov pohledy na vraz a smysl celho vtvarnho umn na domc i mezinrodn scn. Kad doba pitom vnjm tlakem a dky pozitivnmu vlivu zsadnch osobnost - pedevm pedagog - sklo inovativn umlecky posouvala. Dsledky rznch podnt dobe ilustruje prv vvoj ve sklskm ateliru na prask kole.

svtovm kontextu a dokonale promylenou prac Atelir s hmotou, prostorem a svtlem do znan mry skla Milan Hlauril knon modernho sklskho umn. Ve dvou ve dekdch na pelomu tiscilet absolventi atelir Vladimra Kopeckho a Mariana Karla rozili monosti vrazu skla o zcela svobodn umleck vyjden a nov dimenze pedevm ve vztahu k prostoru a spolenosti.

V poslednch letech pod vedenm Ronyho Plesla atelir nabral jin smovn, tvorba se jakoby zklidnila a piblila vce designu, ani by se zekla volnho umn. Ubylo ovem expresivity a snahy o velkolepost. Podoba vstup ateliru se postupn vyhrauje, ani by se ustalovala. Studenti zanaj pese vechnu ctu k minulosti se zdravm sebevdomm nachzet zpsob, jak se vyrovnat s estetickmi poadavky doby. Neokzalm zpsobem zkoumaj prozatm neobjeven monosti skla. Podobn jako jejich dvno ve svt proslaven pedchdci hledaj zpsob, jak se vyrovnat s hmotou a se svtlem, kter j prochz, ale in tak formou odpovdajc souasnosti. Nesta jim sloit dobrou kompozici, sprvn zkombinovat barvy, zdraznit optiku skla nebo dokzat, e dokonale ovldaj emeslo. Chtj doshnout vc, prolnout tvorbu upmn s vcmi, kter provaj v souvislosti s impulzy, je poznamenvaj jejich mylen. Nevyhbaj se vyjden emoc. Do svch dl vkldaj kdy ozvuk konkrtnch osobnch pbh i rozhledu danm snadnm a rychlm pstupem k informacm. Otevraj se svtu a odvn pitom el nebezpe unifikace. Pestoe pro objektivn hodnocen nejnovjho vvoje ateliru skla na VUP znamenaj ti roky pli krtkou dobu, je dnes ji jasn, e ho budou opoutt profesionln vybaven, schopn, citliv lid s osobitm umleckm mylenm.

riletA -alH naliM alks ev

Milan Hlave, Ph.D., head curator of modern and contemporary glass and ceramics collections of Museum of Decorative Arts in Prague

atelir skla Milan Hlave

Since early 1920s the Studio of Glass at the Academy of Arts, Architecture and Design in Prague (the current AAAD) has undoubtedly been a driving force behind the development of both the Czech and also international glass. Its results have varied depending on the context of the transforming political, economic, and social structures of the small Central European nation which has seen unprecedented turbulences over the past century. The design and production of glass, being an advanced and exposed field with deep historic traditions, have often become a propaganda instrument of the changing political regimes. At the same time, the artistic approach to glass has markedly reflected the current perceptions of the expression and sense of visual arts as a whole on both the domestic and international scenes. The external pressure and positive impact of major personalities (especially teachers) of each period have further developed glass artistically. It is the developments in the Studio of Glass at the Academy in Prague which well illustrate the consequences of various impulses.

In the years of its first Professor Josef Drahoovsk from 1920s to 1930s the Studio saw a pioneer period. Despite certain attempts he did not significantly influence the field of design in which important things happened somewhere else. However, he laid the foundations for the future by emphasizing individual work. Despite the general lack of freedom in post war years the Studio supported by the legendary Josef Kaplick has provided strong impetus to the international development of studio glass work against the backdrop of the current artistic development. The authentic expression of future initiators of the real revolution was promoted, and often directed glass to the sphere of free art before it became commonplace in other parts of the world. In the same period the studio of Karel tipl working in parallel promoted the emergence of modern glass design by means of graduates who embarked on their careers as industrial designers. The phenomenal global success of the Czech glass at large exhibition shows in 1950s and 1960s as a symbolic showcase of cultural and economic results of the then Czechoslovakia was based on the graduates efforts of both these studios. From mid 1960s to mid 1980s the studio led by Stanislav Libensk confirmed the strength of Czech art glass against the global backdrop having to a considerable extent defined the canon of modern glass art by means of highly elaborate work with mass, space, and light. Over the two decades at the turn of the centuries the graduates of the studios of Vladimr Kopeck and Marian Karel extended the possible ways of expression of glass complementing it with fully free artistic expression and new dimensions especially in relation to space and society.

Over the past years the Studio has taken another direction under the leadership of Rony Plesl. The work seems to have calmed down and got closer to design without compromising on free art. However, expressiveness and attempts at grandeur have receded. The form of Studios outputs has gradually become distinct without stabilizing. Despite all the respect for the past the students start finding a way to come to terms with aesthetic requirements of the time with healthy self-confidence modestly looking into the so far unrevealed possibilities of glass. Like their already globally renowned predecessors they are looking for a way to deal with mass and light penetrating it doing so in compliance with the current form. Doing a good composition, correctly combining colours, emphasizing the optics of glass or proving that they have perfectly mastered the handicraft does not suffice them. They want to achieve more, honestly merge their work with things they experience in connection with impetus affecting their thinking. The do not avoid expressing emotions inserting codes of tones of particular personal stories into their work as well as their perspective stemming from an easy and fast access to information. They open up to the world bravely facing the danger of unification. Despite the fact that three years is too short a time for an objective assessment of the latest development of the Studio of Glass at the AAAD it is already clear today that professionally equipped, capable, and sensitive people with original artistic thinking will be leaving it.

Jindich Smetana rektor vup praha

Jsem rd Jindich SmetanaI am happy that it is DOX, where the exhibition of Rony Plesls studio takes place, which alone confirms the enlightened activities of this renowned gallery. I am also happy that it is a presentation of glass with all its unexpected connections such as light and space, mainly. I am happy that the studio has currently embraced an approach seeing glass as a very flexible medium which not only develops our modern tradition but also initiates work transcending well beyond the elementary possibilities of this material. Eventually, I am very happy that this exhibition is also a very important presentation of our academy which has been a dynamic commentator, experimenter, and innovator due to its diverse composition of all our subjects. The AAADs personalities make it a major participant of the artistic and design scenes reaching well beyond the territory of the Czech Republic. This fact has been confirmed by the work of Rony Plesls studio.

Jsem rd, e vstava ateliru Ronyho Plesla se odehrv prv v DOXu, co mi jen potvrzuje osvcen jednn tto renomovan galerie. Jsem rd, e se zrove jedn o prezentaci skla, se vemi jeho neekanmi souvislostmi jako je pedevm svtlo a prostor. Jsem rd, e sklo je v souasnm pojet tohoto ateliru velmi prun mdium, kter rozvj nejen nai novodobou tradici, ale tak iniciuje tvorbu, kter dalece pesahuje elementrn monosti tohoto materilu. Nakonec jsem velmi rd, e tato vstava pedstavuje v druhm plnu i dleitou prezentaci na koly. Ta je dky rozmanit skladb vech naich obor razantnm glostorem, experimenttorem a novtorem. VUP je dky svm osobnostem neodmyslitelnm astnkem umleck a designrsk scny, pesahujc rozmr esk republiky. Prce ateliru Ronyho Plesla tuto skutenost potvrzuje.

Jsem rd Jindich Smetana

m es J hci dniJ dr anatemS

Jindich Smetana president aaad praha

mesJ hcidniJ dr anatemS

Osten brouen sklo, 26x11 cm / Thorn cut glass, Dkuji / Thanks to Sklo Petr, Preciosa

Filip Dobis 1990 Transparency Nation? Skupenstv a struktura udv ve. Tvrdost i tekutost materilu je otzkou jednoho okamiku. Momentu, kter ovlivn samotnou podstatu a as navdy ztrat svou dleitost... Je to magick proces. / State and structure determine everything. Solid state or liquid of one material is a question of a single moment. Moment which will affect the essence itself and time will loose its importance forever. There is something magical in this matter.

Condus foukan sklo, prezervativ, vka 35 cm / Condus blown glassware, condom, height 35 cm

Filip Dobis

Dvoj touha hutn tvarovan, brouen, lepen sklo, 32x65 cm / Dual desire hot glass, cut, glued

Hana Famfulkov

Hana Famfulkov 1985 Transparency Nation? lovk mus mt v sob kus krystalu, nco hladkho a istho a tvrdho, co se s nim nems a po em mus vechno sklouznout. Hlavn umlec to mus mt, aby mohl usilovat o dokonalost. Karel apek / One has to have a piece of crystal inside, something smooth and clean and hard which does not mix with anything and on which everything has to slide down. Mainly artists must have it in order to strive for perfection. Karel apek

bez nzvu 750 ml, 3dcl, 2dcl karafa a skleniky, foukan sklo / untitled carafe and glasses, blown glassware The Spirith foukan simaxov sklo 130x60 cm / blown pyrex glass

Alena Hjkov

Alena Hjkov 1989 Transparency Nation? Fakt, e budk nezazvonil, zmnil u mnoho lidskch osud. Agatha Christie / The fact that the alarm clock did not ring has already changed many human destinies. Agatha Christie

Mazli se! sklenice na hork npoj, 12x6 cm foukan sklo, koeina / Pet me! glass for hot drink, blown glass, fure ern dra 35x35x20cm taven, brouen a letn sklo / Black Hole mould melted glass, cut and polished glass

Kateina Handlov

Kateina Handlov 1988 Transparency Nation? Sklo, pestoe je prsvitn, pat k jednomu z nejmagitjch materil. Transparentn neznamen jasn, jednoduch i nudn. Naopak, sklo je zhadn, zbavn a krsn komplikovan. / Although glass is transparent, it is considered to be one of the most magical material. Transparency doesnt mean being clear, simple or even boring. On the contrary glass is amusing, mysterious and beautifully complicated.

Klra Horkov

The Boxes (The Revelation) vka 35cm, sklo, folie, kombinovan technika / height 35cm glass, foil, combined technique

Klra Horkov 1980 (asistent ateliru skla / Glass Studio assistant) Transparency Nation? Przranost vyprzdnn, naplnn, transformovan. / Transparency emptied, filled, transformed.

The Eggo vka 40 cm, pate-de-verre, stavovan floatov sklo / height 40 cm, pate-de-verre, fused float glass

a rl K vokroH

Vzy Metaball vka 40 cm, foukan hutn sklo / The Metaball vases height 40 cm, blown glass

Houbika sklo, kov, pryskyice 60 x 150 cm / glass, metal, resin

Houbika sklo, kov, pryskyice 60 x 150 cm / mixed media, glass, metal, resin

Takeshi Ito

Takeshi Ito 1976 Japonsko / Japan Transparency Nation? Hranice Vidm nebo ctm druhou stranu, ale nemu se j dotknout. Je to stejn jako mezilidsk vztahy. Vte, jak je rozpustit a rozbt? / The border I can see or feel the other side but I cannot touch it. It is the same as the human relationships. Do you know how to melt or breake?

Spartoi (Zaset) a Zlat jablko nebo Pax Americana lidsk zuby, pvodn grantov pojistky, sklenn jablko, petrolej, m, zemina a devo, 300x300cm / Spartoi and the Golden Apple or Pax Americana human teeth, authentic grenade pins, glass apple, kerosene, copper, potting soil, wood.

Rd bych podkoval zubn specialistce Pauline Susanto a Johnovi Susanto ze San Francisca, bez jejich podpory a nenavnho sil bych nikdy nezskal dostatek lidskch zub pro tento projekt. Dal podkovn pat jejich kolegm, Dr. Fujimoto a Lee a Dr. Ted Trebowsky.

/ I would like to thank Pauline Susanto DDS and John Susanto of San Francisco without whose support and tire-less efforts I would never have acquired enough teeth for this project. Additional thanks to their colleagues, Dr. Fujimoto and Lee, and Dr. Ted Trebowsky.

Wiley Jackson

Wiley Jackson 1979 USA Transparency Nation? Sklo fascinovalo Lidstvo z dobrho dvodu u od potku doby kamenn. Z tto doby mme dochovan zznam prvnho nad, kter kdy bylo vyrobeno. Sklo pouvm, protoe ze vech umleckch materil, kter jsou souasnmu Umlci k dispozici, dn nezachycuje tvrt rozmr nebo spe prchod asem tak, jak to doke pedmt ze skla. Sklenn pedmt se v pirozenm svtle neustle kadou chvli mn zpsobem, kter dn jin ltka nedoke. Pidejme k tomu jeho schopnost ukzat souasn jeho vnitn a vnj tvar a mme materil nekonench umleckch monost. / With good reason Humanity has been fascinated by glass since the beginnings of the stone age; they were the first tools we ever made that we have a permanent record of. When I use glass I choose to do so because of all the artistic materials available to the contemporary Artist none capture the fourth dimension or rather the passage of time quite like the glass object. The glass object in natural light, is constantly changing from moment to moment in a way no other substance can; add to that its ability to show both the inner and outer form simultaneously and one is left with a material of endless artistic possibilities.

Luk Kalivoda

bez nzvu foukan sklo, vka 2025 cm / untitled blown glassware, height 2025 cm

iv obraz sklo a propisky, 3x8 m / Picture that lives glass and ballpoints

Luk Kalivoda 1986 Transparency Nation? Nah politika / Naked politics

Pavel Karous

T462.2 sdrokarton, kov, barva 900x400x170 cm / colored plasterboard, metal

koda Favorit plexisklo, kov, projekce 400x350x180 cm / plexiglass, metal, projection

E458.1 sdrokarton, kov, barva 1300x650x300 cm / colored plasterboard, metal

Pavel Karous 1979 (asistent ateliru skla / Glass Studio assistant) Transparency Nation? esk sttn sprva! / czech public administration!

levaP s uo r a K

vejkaka je doasnou intervenc do sochy Znovuzrozen od Josefa Malejovskho z roku 1983, kter je trvale umstna na prostranstv piazzety Nov scny Nrodnho divadla. Takov vejkaka, hodnot dnes socrealistickou sochu skateboardisti okupujc piazzetu. Autor nenronmi metodami pozmnil sochu na gigantickou pouitou vkaku a tm potvrdil jej urban legend. Akce vznikla v rmci autorova projektu Vetelci a volavky, mapujc sochy a plastiky ve veejnm prostoru z doby normalizace. / Chewing Gum is a temporary intervention into the statue Rebirth by Josef Malejovsky from 1983, which is permanently located at the piazzetta of the National Theatre New Stage. To quote local skateboarders that use the square, Its kinda like a chewing gum, when talking about the social realist statue. The author, through simple methods, changed the statue into a giant chewed chewing gum, and therefore to emulate its nickname. The exhibition is part of the authors project Aliens and Herons, which manipulates normalisation era statues in public places.

Tramvaj T6 plexisklo, kov, projekce, 350 x 160 x 130 cm / plexiglass, metal, projection

Seuljee Kim 1985 Jin Korea / South Korea Transparency Nation? Transparentnost nezvis na njak filozofii nebo ideologii, ale spov v tom, dret se svho pesvden a nenechat se zviklat vnjmi svody. To je to, co i my potebujeme. lovk mus, nespoutn njakou filozofi nebo ideologi, pln vyjadovat svj vlastn nzor a stt si na svch zsadch. A to je to, eho se my, designi, musme dret. / Transparency doesnt depend on some philosophy or ideology, but consists in being firm in ones belief. That is necessary for us. Dont be bound by any conceptions and ideology, and do express ones inspiration freely and remain firmly in ones belief. That is the attitude we need to keep as a designers.

Loue plech a sklenn diamanty 160x70 cm / Puddle metal sheet and glass diamonds Touhy taven a brouen sklo, bronz, vka 75 cm / Desire mould melted glass, bronze, height 75 cm

Seuljee Kim

Synapse modelovac hmota / modeling clay

Cargo brouen sklenn stepy asi 10x5 cm / cut glass shards, about 10x5 cm

Marek Matjek

Marek Matjek 1989 Transparency Nation? Svtlo je ivot a pravda, katarze due v nevdom, ist informace a inspirace. Projde tm, kdo chce znt podstaty. Zadr chtivost, materiln marnost doby. / Light is life and truth, catharsis in the unconscious mind, pure information and inspiration. Passes the One who wants to know the essence. Holds the greed, material vanity of our time.

Vespragen (vesmrnch pravd genertor) taven sklo, silikon, kauuk, 16x10x8 cm / Unitrugen (universal truth generator) mould melted glass, silicon, natural rubber

Michaela Mertlov

Michaela Mertlov 1986 Transparency Nation? Vespra generation (vesmrnch pravd generace) / Unitru generation (universe truth generation)

Plasmov svtidlo sklo, kov, elektronick soustky, prmr 150 cm / Plasma lighting glass, metal, electronic components, diameter 150 cm Vza Platn lepen tabulov sklo vka 150 cm / Platonic Vase float glass, height 150 cm

Jakub Petr 1987 Transparency Nation? Transparentn pedmty jsou sice prhledn, natst ne vak u neviditeln, jinak by svt piel o spoustu krsy, skli o prci a my vtvarnci o svou milovanou tvorbu. / Transparent objects are indeed transparent, but fortunately no longer invisible, otherwise the world would lose a lot of beauty, glassmakers of their work and artists of their creation.

Parabolid msa lehan sklo, lepen sklkou barvou, prmr 30 cm / bowl, slumped glass, diameter 30 cm

Jakub Petr

Rony Plesl

Zti taven, brouen a letn sklo, prodn kristal a nerez, 50x50x50 cm / Still life mould melted glass, cut and polished glass, natural crystal and iron steel

Zti taven, brouen a letn sklo, prodn kristal a nerez, 50x50x50 cm / Still life mould melted, cut and polished glass, natural crystal and iron steel

Ak. Soch. Rony Plesl 1965 (vedouc ateliru skla / head of the Glass Studio) Transparency Nation? Moji studenti. My students

ynoR l s el P

La Scena run foukan sklo / hand made blowing glass

Samuraj taven, brouen a letn sklo, vka 50 cm / mould melted, cut and polished glass, hight 50 cm

Uovo run foukan a brouen sklo, vka 35 cm / hand made blowing and cut glass, height 35cm

ynoR l s el P

Red box objekt, taven, brouen a letn sklo, 12x20x50 cm / mould melted, cut and polished glass

Seven objekt, taven, brouen a letn sklo 12x20x50 cm / mould melted, cut and polished glass

Rarus res taven, brouen a letn sklo, ocel, nerezov ocel, 140x60x140 cm / mould melted, cut and polished glass, iron, iron steel

ynoR l s el P

Plenik run foukan a brouen sklo / hand made blowing and cut glass

Nero vza taven, brouen a letn sklo / mould melted, cut and polished glass

Tade Podrack

Cultivator (model) drt, nylon / wire, nylon

Kompozice matovan sklo, drty, 110x60 cm / Composition frosted glass, wires

Tade Podrack 1989 Transparency Nation? ijc sm v sob, tvoen sm sebou. / Living in oneself, created by oneself.

Neuron sklenicov set foukan sklo / blown glassware

Kristna Pojerov

Houbiky dzy, pokoven sklo, 2025 cm / Mushrooms doses vacuum covered glass

Kristna Pojerov 1987 Transparency Nation? RP + PK = TN

Sklenk foukan sklo, 54x35 cm / Glasshouse blown glass

ern kreslen fix na pape, 720x93 cm / Black drawing marker on paper Viz malba na tabulov sklo, 50x600x25 cm / Look painting on the float glass

Pavel Skrott

Pavel Skrott 1987 Transparency Nation? Vesmrn lid. Velk a zlat. Prhledn neviditeln nrod. / Universe People. Big and gold. Transparent invisible nation.

OVO III, OVO II tamprlatov set, foukan a brouen sklo, 20x35 cm / Tot set, blown glassware and cut glass

Kateina Smolkov 1981 Transparency Nation? Vc nebo projekt, kter je prhledn. V umn je to metafora pro istotu, nov pstupy, metody. Svoboda projevu, mylen, svoboda ve vytven umleckch dl bez cenzury a omezen. Je to mylenka, kter pin svtlo a odstrauje vechny pekky. Je to tak proces transformace a hledn novch cest jak ve spolenosti, tak v umn. / Transparency Nation? Object or project that you can see through is transparent. In art it is a metaphor for purity, new accesses, methods. Freedom of expression, thought, freedom in creating artworks without censorship and restrictions. It is the idea which is bringing a light and removing all barriers. It is also a process of transformation and finding new ways in both society and arts.

Liquid Level taven sklo, 60x70 cm / mould melted glass

OVO II

Kateina Smolkov

David Yule 1983 Austrlie / Australia Transparency Nation? Transparentn pedmt. Svtlo prochzejc neruen neistotami i stny. Je oteven svtu, vystavujc mu svou vnitn i vnj strukturu a vzor. Naproti tomu neprhledn je er, stinn, tajemn. Co za skryt vznam h za temnmi zdmi? Zlo se neruen rozrst, pokud nen vystaveno svtlu. Krutost se odehrv v pochmurnch mstech za zavenmi dvemi. / A transparency object is light passing unimpeded by impurities or shadows. It is open to the world, exposing the internal as well as the external structure and design. By contrast, the opaque is murky, shadowy and mysterious. What hidden meaning lurks behind the dark walls? Evil grows unimpeded when not exposed to the light. Brutality takes place in gloomy places and behind closed doors. 9tysevenninty7 xxx.

Czech cutting nalezen objekty a svtlo, velikost zdi / found objects and light, the size of a wall Ciii spirit glasses taven sklo / mould melted glass

David Yule

Jana eleznkov

Nora foukan sklo, 50x32 cm / blown glass

T. N. el, ostnat drt, jahody / jelly, barbed wire, strawberries

Jana eleznkov 1987 Transparency Nation? Bh m parohy. / God has antlers.

Antonn Votruba

Antonn Votruba n brusisk mistr, kter na kole psob nejdle ze vech zamstnanc 38 let / master ginder, the longest serving employee, 38 years working for aaad

2009

2010

2011

Podkovn: Velice bych chtl podkovat naim sponzorm, nejen za finann, ale i veobecnou podporu naeho snaen. Dky pat mm zaplenm studentm, skvlm asistentm, cel kole VUP a jejmu veden za mimodnou pomoc. Dkuji asnm slenm z PR oddlen rce Elfmarkov, Me Kaplnkov a Veronice Packov, bez jejich organizanch schopnost bychom se neobeli. Dkuji grafikovi Ondeji ormovi, kter nekonvenn obohatil n katalog. Vm si a dkuji za kvalitn prci sklskch emeslnk, na jejich mezinrodn uznvan schopnosti se pi realizaci naich umleckch dl spolhme. Zvltn dk pat galerii DOX v ele s Leoem Vlkou, nejen za velkorys prostor a celkov pstup k nm a k naim studentm, ale za to, kam posouv rove a zjem o vtvarn umn u ns. Zvltn podkovn pat autorm text Elisce Stlting, Douglasi Hellerovi, Milanu Hlaveovi a Jindichu Smetanovi. Rony Plesl Special thanks to text authors Eliska Stlting, Douglas Heller, Milan Hlave and Jindich Smetana. Acknowledgements: I would very much like to thank our sponsors for not only financial, but indeed general support of our efforts. My thanks are due to my enthusiastic students, excellent assistants and the whole Academy of Arts, Architecture and Design in Prague and its principalship for their remarkable help. I thank the wonderful ladies from the PR department rka Elfmarkov, Ma Kaplnkov and Veronika Packov, without whose organizational skills the project would not be possible. Thanks to graphic designer Ondej orm for unconventional and creative design of our catalogue. I very much appreciate the excellent work of our glass craftsmen, whose skills are recognized internationally, and whom we entirely rely on during our projects. Special thanks go to DOX, Centre for Contemporary Art, led by Leo Vlka, not only for generous space and an overall approach to us and to our students, but for his efforts which shift the standard and interest in visual arts in our country.

atelir skla vup prahaisbn 979-80-86863-99-3 koncepce katalogu a vstavy / exhibition and catalogue concept Rony Plesl, Pavel Karous, Klra Horkov, Ondej orm, studenti / students texty / texts Rony Plesl, Douglas Heller, Elika Stlting, Milan Hlave, Jindich Smetana, studenti / students

Transparency Nation 130 Ju ne 2011grafick design / graphic design Ondej orm fotografie / photography Jaroslav Kvz, Tom Brabec (portrty / portrets), osobn archiv autor / self archive of authors produkce / production rka Elfmarkov, tpnka Holbov, Michaela Kaplnkov, Veronika Packov, Hana Dutton peklad / translation Kateina kov, Daniel Hnzdo, kolektiv autor / authors collective psmo / type Berthold Akzidenz Grotesk tisk / print: Carter, Bontia Publikace je vytitna ve FULL HD kvalit na tiskovm stroji Heidelberg Speedmaster XL 75-8-P5-F nklad / eyditon 500 kus / pieces vydal / publihed Vysok kola umleckoprmyslov v Praze / Academy of Arts, Architecture and Design in Prage 2011

Transparency Nation 1 30 Ju ne 2011

glass studio aaad prague

vsup.cz

Transparency Nation 130 Ju ne 2011

ycnerapsnarT uJ 03 1 noitaN 1102 en