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637:, started from nothing, it did not depict anything, but the work itself represented a new reality and the meaning resided in him alone. The artwork was an objectification of the artist's entire personality, a "psychophysical field" transformed into the surface of a painting or a three-dimensional object. The material objects, using the principle of assemblage, were deliberately non-colourful (a predominance of black, brown and natural colours of raw materials), made up of unusual materials (metal sheets, wood, textiles, plastic, asphalt, etc.), which were brutally destroyed and joined together with synthetic resin. The objects thus acquired an emotional urgency and the character of magical objects as if marked by the patina of time. The artist's intention was not a new aesthetic appreciation of these materials, devoid of their own content or value, but to use them to emphasize the underlying message.
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185:. At the age of seventeen, he was admitted without a high school diploma and without meeting the prescribed minimum age to the graphic arts preparatory school. Eventually he completed his entire studies in the graphic studio of Prof. Vladimír Silovský, where there was a very free atmosphere and it was sufficient to bring one's home works several times during the year. Since moving to Prague, he learned to play the piano while improvising and composing his own music. Until the early 1960s, he considered music more creative and hesitated to pursue it professionally. It was not until the advent of
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704:. The participation of the subconscious in the creative process is here a source of meaningful ambivalence – the chair is both a tortured victim and a personification of the aggressive forces of destruction. According to the author, the detailed elaboration of the smaller sculptural objects concealed the danger that ornamentation would prevail and the power of expression would be lost. For this reason, the experience he gained during the
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764:, 1993), giant compasses describing a trace in the landscape (1984), or large wheels that are prevented from moving by their associated load or asymmetrical anchorage. In the early 1990s, he first designed in drawings and later partially realized a series of gates and corridors in which passage is threatened or impeded by a suspended burden or a pile of stones. (
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participation and the possibility to make changes up to the last moment, regardless of the complexity of the project. For the objects that were created in his studio, he considered the ideal state to be one where, without a specific intention to create a particular work of art, everything he touched was done in a state close to unconsciousness or nirvana.
205:(1952–1958), he was automatically accepted as a candidate of the Union of Visual Artists, which allowed him to apply for creative scholarships and public commissions or to acquire his own studio. After three years, however, he was told that his works expressed a view of life that contradicted the conclusions of the 14th Congress of the
815:(1993), he designed a project in which a series of suspended transparent textile sheets with silk screen printing created the illusion of a huge boulder floating in space. In his later sculpture designs, he sought means of lifting the large mass of stone to a height and fixing it in such a way as to emphasise the effect of its weight (
1750:...the thing should have the dimension of the person (who creates it), not perhaps spatially, but in the sense of the passage of time through which the person passes. So I believe that it is possible to work on only one thing for the whole of my existence. The moment of its termination is identical with the moment of my death.
217:'s studio. The second of these exhibitions took place in the autumn of 1960 in the newly acquired basement studio of Aleš Veselý in Žižkov. In 1960, a congress of the international association of art critics AICA was held in Warsaw, whose participants then visited Prague. The hastily organised visit to the studios appealed to
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Parallel to the paintings and sculptures, numerous prints and paintings were created. At the beginning of the 1960s, mainly structural etchings and combinations of etchings with impressions of real objects (1962–1963), in the second half of the 1960s large-scale impressions of assemblages of metal
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In the 1980s, Aleš Veselý created a series of large-scale studies in the form of "drawings by painting" on paper, which he regarded as complete works in their own right. In them he designed various, in general difficult to realise, giant buildings and sculptures. In the drawings, the principle of
716:, was crucial for him. He realised that the large size suited him, freeing his imagination and allowing him to concentrate even in the busy traffic of the factory hall. At the same time, he came to terms with the necessity of working together with the welder who helped him in the realisation. The
799:, Tokyo, 1994), as well as a trip to Israel and a stay and exhibition in Chicago (1994) marked a certain shift in Aleš Veselý's work towards environmental projects. Some of his designs are conceived as monumental interventions in the landscape that could only be observed from a high perspective (
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A characteristic feature of Aleš Veselý's work is his striving for precision of expression. As he himself states in the interview, the definitiveness of the final form is subject to a heightened sensibility and capacity for reflection. An essential part of the process is continuous personal
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were created – assemblage reliefs made of wood and metal, joined with synthetic resin and welding, which depict deep wounds and scars and are an expression of mental trauma rather than a physical wound. After the first exhibition, Aleš Veselý had the opportunity to realise the relief object
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transformed his life experiences and personal myths. From 1959 he began to use natural materials such as stones, clay, sand and leaves in his entirely abstract paintings (the "Magma" series) and later also used found metal objects, which he fused with synthetic resin and treated with flame.
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Between 1953 and 1956, during his annual months-long stays in Sihelné, Aleš Veselý created hundreds of landscape drawings and psychological studies of the local inhabitants. Until 1959, his paintings, woodcuts and drawings featured spiritual landscapes and ghostly apparitions into which he
166:, but managed to escape before the end of the war and returned home. During the war, 47 of his relatives were murdered. Aleš Veselý, as a Jew, was not allowed to go to school and did not graduate from the fifth grade of primary school until after the war. His father got a new job in
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giant mechanisms that mediate the gravitational action of suspended loads and pendulums and counterbalance the tension of massive springs with rods, levers and arms of pendulums begins to emerge. The designs include sculptures incorporating natural rough stones and tree trunks (
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and recorded several pieces of improvised industrial jazz in the sound studio of the
Atelier Theatre (now the seat of the Ypsilon Theatre). The recordings were released on two CDs by Guerilla Records. In the late 1970s he was invited to participate in a sculpture symposium in
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In the 1970s, he withdrew into isolation in his studio in Středokluky, and in this timelessness, paradoxically, he experienced absolute freedom of creation because he could not expect to exhibit the works. Until 1982, he was a member of the alternative music group
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near Prague, where he bought a demolished mill in which he built a rural studio. During the second half of the 1970s, he created a number of expressive sculptural objects in the form of "Spatial
Records" as welded assemblages of used metal and wooden parts
756:, which was also conceived as a sound generator, was at the beginning of the next phase of his work in the 1980s. A continued interest in music and activity in the group "Frog Slime" resulted in his own sound recording "Sounds of Sculptures" (1983).
392:. He worked as the head of the monumental sculpture studio at the Academy from 1990 to 2006 and then for another three years at the University of J. E. Purkyně in Ústí nad Labem (2012–2015). In 1992 he had a major exhibition in the Ballroom of
732:, etc.). Around the house, an exhibition of his exterior sculptures was created, conceived directly for a specific location. In the late 1970s and early 1980s he managed to realize several monumental sculptures in public spaces in Germany (
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404:. On the occasion of the artist's 80th birthday in 2015, simultaneous exhibitions were held in four Prague galleries and in his studio in Středokluky. Aleš Veselý died unexpectedly on his 80th birthday in Prague in December 2015.
271:. His stay in the steelworks, where he had an unlimited amount of material at his disposal and where he created seven sculptures, was gradually extended by the organisers of the symposium until 1968 and was only ended by the
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to paint during holidays, and later also in autumn and winter. He himself states that the village's archetypal environment, reading and music were at the origin of his journey towards abstraction. After graduating from the
1087:. The giant artefact stands at the site of the Jewish transports as a gate on the road through which they passed to the deportation trains. The sculpture carries the message that the station, marked by the tragic fate of
329:, which was threatened with scrapping. Other sculptures were temporarily placed in a welding workshop on the outskirts of Prague before he managed to acquire a demolished mill and fenced-off land in the village of
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and was given permission to travel. During his stay in Bochum in 1979, he received another offer and won a competition to execute another giant fifteen-ton sculpture in the city of Hamm the following year.
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333:. While moving the sculptures in early 1971, he suffered a heart attack. In 1972, for unexplained reasons, his wife committed suicide by jumping from a window, seriously injuring their daughter Jana.
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and adjacent gardens. During the 1990s he was frequently invited abroad (Germany, USA, Japan, Israel) and repeatedly exhibited in regional galleries. In 2005–2006, the Egon
Schiele Art Centre in
209:, and his support was terminated. In the late 1950s, he became interested in material abstraction and was one of a group of artists who later held the first unofficial studio exhibition, called
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in 1970, Aleš Veselý was among the artists who were persecuted by the regime, lost the possibility to exhibit or bid for public commissions. He had to hastily take care of the rescue of the
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388:, Aleš Veselý had his first exhibition in an official exhibition hall in 27 years (Nová síň Gallery, 4 June – 1 July 1990) and was also asked to take over teaching sculpture at the
2012:
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Regional galleries: Hradec Králové, Hluboká nad
Vltavou, Cheb, Klatovy-Klenová, Liberec, Louny, Ostrava, Pardubice, Plzeň, Roudnice nad Labem, Ostrov nad Ohří, Terezín
677:. Drawing studies for iron and concrete projects in the landscape, huge terraced phantastic buildings and a series of phantasmagoric drawings date from 1967 to 1970 (
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Quatrième biennale de Paris, 1965, Šerých
Jaroslav, cat. collective, 207 p., IV. Biennale de Paris, Musée d'Art Moderne de la Ville de Paris (ARC)
1079:). The date of the unveiling of this installation is also a reminder of the night of 8–9 March 1944, when almost 4,000 prisoners of the so-called
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From childhood he painted and later attended the
Secondary Art school in Prague, but after two years his professors recommended him to go to the
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At the beginning of the 1960s, when the regime was partially relaxed, Aleš Veselý had his first solo exhibition at the Young
Artists Gallery of
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Restany Pierre: Aleš Veselý, Visionnaire de la modernité industrielle / Aleš Veselý a visionary of industrial modernity, Galerie Pallas, 1994
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by turning to purely subjective work with a strong existential subtext. The work of the time was sharply opposed to the officially supported
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presented themselves as mature individuals and their differentiation of opinion became fully apparent. Aleš Veselý exhibited his sculptures
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sculpture was created in such a way that the main mass of the sculpture rested on high and relatively thin supports. During his stay in
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Aleš Veselý: Tři brány – projekt pro
Pinkasovu ulici v Praze / Three Gates – Project for Pinkas Street in Prague, Jewish Museum, 2005
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1958:, catalogue for the anniversary exhibitions of Galerie Millenium, Gallery 1st Floor, Galerie Zlatá Husa, Vila Pellé, Prague 2015
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In the second half of the 1960s, the imaginative and existential component of Aleš Veselý's work became stronger. In 1965, his
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Aleš Veselý: The
Usurper (an auxiliary text to the determination of a defined space), in: Výtvarné umění 1966/5, p. 226-230
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Private collections: USA, Canada, Japan, Israel, Germany, France, Italy, Netherlands, New
Zealand, Austria, Czech Republic
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2007:
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František Šmejkal, Metamorphosis of the Chair 1966, in: Nešlehová M (ed.), Český informel / Czech Informel, 1991, p. 248
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1018:, set of three iron sculptures, I. 750 × 900 × 220 cm, II. 330 × 360 × 180 cm, III. 280 × 220 × 110 cm
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and intimidation, but he eventually got his passport back and was able to leave. On the recommendation of the French
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Sculpture and the City, 1969, Moulis J et al., 114 p., Secretariat of the exhibition Sculpture and the City, Liberec
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was not a gradual simplification of the seen reality or an immediate record of intimate feelings as in the case of
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Aleš Veselý: Sochy jsou jako zhmotnělé myšlenky Aleš Veselý: Sculptures are like materialized thoughts TOPZINE.cz
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became a unique sculpture park during Aleš Veselý's lifetime, which should be perceived as a total work of art.
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Marcel Fišer, Art Symposia in the 1960s, dissertation, Faculty of Arts and UDU, Charles University Prague 2011
854:(2000) for Oda Park in the Netherlands, Aleš Veselý often used the phenomenon of mirroring in his sculptures (
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in the mid-1980s, Aleš Veselý was selected among the world artists who were invited to exhibit and create in
285:, where his daughter Jana was born from his first marriage (1968). In 1969 he participated in the exhibition
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Beeldenpark Een Zee van Staal, YouTube video of the preparation and installation of Aleš Veselý's sculpture
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sculpture was at the beginning of his later designs for large-scale sculptures and environmental projects.
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Aleš Veselý: Colour drawings – sketches – plastic objects. Working exhibition as an attempt at information
1040:) from 1971 sculpture placed in the artist's studio in Středokluky, welded stainless steel, h. 710 cm
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In 1967, after Aleš Veselý's father died in May, he and seven other sculptors were invited to the first
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784:), in which a huge steel plate is held by springs inside a rectangular structure made of wooden logs.
281:, which he saw as his personal prayer for his deceased father, was created there. He then returned to
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Mahulena Nešlehová (ed.), Czech Informel. Pioneers of Abstraction 1957–1964, Prague City Gallery 1991
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and other concentration camps between 1941 and 1945), is ready for its planned reconstruction into a
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held a retrospective exhibition of his work, and in 2009 his monumental sculptures were exhibited in
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953:, in front of the former synagogue in Kutná Hora, stone, stainless steel, iron, 200×200×200 cm
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807:, 2005). A constant subject of thought for Aleš Veselý has been the theme of gravity. Already the
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From the early 1970s onwards, he retreated into private life for long periods. He found refuge in
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and, with its reference to medieval mysticism and expressiveness, drew on the older tradition of
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1871:, Mládková Meda, Ronte Dieter, cat. 18 p., for exhibitions in Buenos Aires and Schaumburg, 1988
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752:(1982–1990). The unrealised project of a giant arm with a spring and weight for the city of
2018:
Tvar, rozhovor V. Zadrobílka s Alešem Veselým / interview of V. Zadrobílek with Aleš Veselý
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for the exhibition). His sculptures, including the "Chair-Usurper", were purchased by the
1895:, Kotík Charlotta et al., exhibition catalogue (88 p.), Carosso Fine Art, New York 2003,
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At the end of the 1950s, Aleš Veselý was one of the most significant protagonists of the
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1421:, Institute of Macromolecular Chemistry of the Czechoslovak Academy of Sciences, Prague
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by Aleš Veselý was unveiled at Prague-Bubny railway station in the form of a 20-metre
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Hana Rousová, Aleš Veselý's Attempt at a Total Work of Art, in: Umění 37/1989, no. 5
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1058:, wood, iron and acronex (destroyed in 1994 with the knowledge of the Czech Embassy)
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František Šmejkal, Argumenty I, in: Nešlehová M (ed.), Český informel, 1991, p. 244
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594:– a wave of abstract expression that responded to the social atmosphere and the
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1877:, Raimanová Ivona, cat. 28 p., for exhibitions in the New Hall, GVU Kladno 1990
358:. His journey to the USA was preceded by several hours of interrogation by the
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1946:, Hubáčková V, cat. 16 p., Gallery, spol. s r.o. (Jaroslav Kořán), Prague 2010
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in public and this experience marked him for life. His father and sister were
2008:
Výtvarnické konfese / Artist's Confessions, directed by Petr Skala, Czech TV
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Aleš Veselý came from a mixed Jewish family of an insurance clerk and during
1883:, Messer T et al., exhibition catalogue (96 p.), Prague Castle, Prague, 1992
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Works by Aleš Veselý in the Sculpture park of the National Gallery in Prague
1376:, International Currents Gallery – J.D. Mooney Foundation, Chicago, IL., USA
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1933:, Netopil P et al., cat. 100 p., Smetanova Litomyšl, o.p.s., Litomyšl 2009
1853:, 1984, Erben V et al., cat. 284 p., House at the Golden Melon, Prague 1984
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Memorial, stainless steel, bronzed railway tracks, boulders, h. 560 cm
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221:, who, together with some others, published a series of articles on modern
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989:, Faret Tachikawa, Tokyo, stainless steel, diorite, 240 × 240 × 70 cm
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935:, Masaryk University in Brno, stainless steel, stone, 300×560×150 cm
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1908:, Hájková M, Pavlát L, cat. 32 p., Robert Guttmann Gallery, Prague 2005
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1007:, welded stainless steel statue in front of Ed. Spranger, Hamm, h. 12 m
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960:, Sculpture Park, Wijk aan Zee, steel and boulders, 530×376×609 cm
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1994 The Chicago Prize, John David Mooney Foundation, Chicago, IL, USA
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1986 International Sculpture Center Fellowship, Washington, D.C., USA
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138:) was a Czech sculptor, graphic artist, painter and academy teacher.
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2002:
1956:
Aleš Veselý: Bez začátku, bez konce / Without Beginning, Without End
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His sculptures have been placed in public spaces around the world (
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at the Nová síň Gallery in 1964, where the leading protagonists of
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Invasion of Czechoslovakia by Warsaw Pact troops on 21 August 1968
1914:, Machalický J, cat. 12 p., Museum Montanelli, s.r.o., Praha 2006
1248:, Millennium Gallery, Prague, 11 September 2015 – 11 October 2015
1091:(from here 50,000 Jewish citizens of Prague were deported to the
1055:
657:, some of which were intended as sculptures for open space. His
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there. The following year he received the Critics' Prize at the
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1944:
Aleš Veselý: Disproportion of Dimensions – Fragments of Records
1920:, Neumann I, cat. 40 p., West Bohemian Gallery in Pilsen 2007,
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Aleš Veselý: Disproportion of Dimensions – Fragments of Records
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In 1986, Aleš Veselý received an American scholarship from the
1369:, International Currents Gallery – J.D. Mooney Foundation, USA
1255:, Villa Pellé Gallery, Prague, 18 September – 11 November 2015
996:, 1968 sculpture permanently installed in the Olympic Park in
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121:(1965), The Chicago Prize, John David Mooney Foundation (1994)
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No Beginning, No End – A Tribute to Ales Vesely – 1935 – 2015
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Jan Kříž, in: Nešlehová M (ed.), Czech Informel, 1991, p. 240
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Aleš Veselý, Skewed Cross-Section of a Skewed Axis, 1992-2009
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During his studies, he went to the small mountain village of
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1994 Chicago International Art Exhibition, Chicago, IL., USA
1262:, Galerie Zlatá husa, Prague, 30 September – 30 October 2015
673:). His abstract oil paintings from 1960 to 1962 were titled
487:(2014), Gallery of the Central Bohemian Region in Kutná Hora
1241:, Gallery 1st Floor, Prague, 3 September – 11 November 2015
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burned himself to death. At the beginning of the so-called
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Czech sculptor, graphic artist, painter and academy teacher
1952:, cat. 6 p., DOX, Centre for Contemporary Art, Prague 2011
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1992 Central European Gallery and Publishing House, Prague
1859:, Juříková M, Klimešová M, cat. 2 p., Opatov gallery 1986
1847:, Wille Hans, cat. 24 p., Gustav-Lübcke-Museum, Hamm 1980
862:, Gallery of Central Bohemian Region, Kutná Hora, 2014).
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1993 Fabric Workshop and Museum, Philadelphia, PA., USA.
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Big Mirror – Exhibition of a Landscape-Sculpture Project
1950:
Aleš Veselý: Trvání a setrvání / Permanence and inertia
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Ales Vesely: New Projects and Older Objects (1957–2007)
1841:, Hartmann A, cat. 8 p., Spanish Synagogue, Prague 1970
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2015 four exhibitions on the artist's life anniversary
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Sculpture Collection – Olympic Park, Seoul, South Korea
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1995 Pollock-Krasner Foundation Grant, Chicago, IL, USA
928:, Gallery of the Central Bohemian Region in Kutná Hora
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objects in high relief, with traces of rust and dust (
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Aleš Veselý, Chair – Usurper, National Gallery Prague
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in Rome in 1964. This was followed by mostly welded
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sculpture at the exhibition Sculpture and the City,
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Award from the international jury for his sculpture
1731:
Aleš Veselý, in: Michal Schonberg 2007, pp. 222–223
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Aleš Veselý, in: Michal Schonberg 2007, pp. 155–156
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Aleš Veselý, in: Michal Schonberg 2007, pp. 168–173
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Runnymede Sculpture Farm, Woodside, California, USA
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1982:Walk through the gate! Interviews with Aleš Veselý
1865:, Rousová Hana, cat. 2 p., Galerie 55, Kladno 1987
1669:Aleš Veselý, in: Michal Schonberg 2007, p. 182-185
1385:1993 Deutsch-deutsches Museum, Mödlareuth, Germany
744:these were followed by the large-scale sculptures
416:1993 Arts Link Fellowship at The Fabric Workshop,
311:in the same year. The exhibition of the sculpture
109:sculptor, painter, graphic artist, academy teacher
1889:, Hlaváček J et al., cat. 80 p., OGV Jihlava 1998
240:(1963). This was followed by the ground-breaking
1619:Aleš Veselý, Enigma III, National Gallery Prague
633:. Abstraction, as understood by the creators of
315:evoked unintended connotations at the time when
2050:in GU Karlovy Vary, Czech radio Vltava 6.8.2012
1222:No Beginning, No End – A Tribute to Aleš Veselý
1052:Indetermination of the Circle and Straight Line
967:, sculpture from 1968 permanently installed in
946:, iron, steel and boulders, 777×430×430 cm
1609:Aleš Veselý, in: Michal Schonberg 2007, p. 103
1582:Aleš Veselý, in: Michal Schonberg 2007, p. 234
189:that he finally decided to pursue visual art.
1998:Database of the National Library: Veselý Aleš
1784:Aleš Veselý / Stigmatising Object, 1963, GVUO
1722:Aleš Veselý, in: Michal Schonberg 2007, p. 32
1512:Aleš Veselý, in: Michal Schonberg 2007, p. 63
1503:Aleš Veselý, in: Michal Schonberg 2007, p. 44
1348:, Panorama Museum, Bad Frankenhausen, Germany
8:
1388:1993 Galerie Christoph Dürr, Munich, Germany
1067:On 9 March 2015, a large sculpture entitled
712:, while working on the monumental sculpture
170:, where Aleš Veselý started to study at the
1795:Aleš Veselý, Spider's Tower, 1967–1968, MUO
1160:Museum of Central Pomerania, Słupsk, Poland
51:Aleš Veselý (2013), photo by Jindřich Nosek
1572:Central european art database: Aleš Veselý
1545:Guerilla records, ŽABÍ HLEN – ŽABÍ HLEN II
1029:, stainless steel, 210 × 390 × 230 cm
647:Indetermination of the Circle and the Line
381:from 1968 was placed in the Olympic Park.
377:during the Olympics (1988). His sculpture
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1690:Aleš Veselý, Kadesh Barnea Monument, 2005
1414:1988 Batuz Foundation, Schloss Schaumburg
1278:, DOX Centre for Contemporary Art, Prague
1835:, 1963, Šmejkal F, cat. 8 p., ČFVU Praha
1427:1980 Gustav-Lübcke-museum, Hamm, Germany
1408:, Nová síň, Prague, 4 June – 1 July 1990
1327:, Egon Schiele Art Centre, Český Krumlov
1271:, Karlovy Vary Art Gallery, Karlovy Vary
154:. As a six-year-old boy, he had to wear
1887:Aleš Veselý: Obsession, Reality, Utopia
1762:Centre Pompidou: Aleš Veselý, sculpteur
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1239:Unknown Objects from the 1960s to Today
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1260:Ideal projects realized and unrealized
1246:Graphics – Non-graphics (1960s, 1970s)
819:, an idea for a desert project, 1995,
776:, 2004–2005). From 1991 there is also
700:was awarded the Critics' Prize at the
450:1965 Critics' Prize for the sculpture
2003:Information system abART: Aleš Veselý
1529:
1527:
1362:, State Gallery of Fine Arts, Ostrava
1290:Aleš Veselý in Josef Pleskot's Spaces
1253:Visions and ideas from the last years
663:old airport building in Prague-Ruzyně
560:, Sculpturepark Een Zee van Staal in
7:
1906:Aleš Veselý: Tři brány / Three gates
1175:Museum of the Capital City of Prague
1099:as a memorial to the victims of the
548:, Former railway station Praha-Bubny
2100:Academy of Fine Arts, Prague alumni
1494:Aleš Veselý, Tři brány, 2005, p. 19
1465:Aleš Veselý, Suspended Weight, 1968
1411:1990 Cultural Centre Opatov, Prague
1367:New Drawings for Sculptures Chicago
1184:Czech Museum of Fine Arts in Prague
1151:Gustav-Lübcke-Museum, Hamm, Germany
914:, Memorial of Silence, Prague Bubny
873:; Faret Tachikawa, Tokyo; Terezin;
640:Between 1961 and 1963, a series of
207:Communist Party of the Soviet Union
1355:, Gallery of Fine Arts, Litoměřice
1306:, Klatovy/Klenová Gallery, Klenová
1299:, East Bohemian Gallery, Pardubice
1233:Ales Vesely / No beginning, no end
25:
1893:Aleš Veselý : Infinite Point
1881:Aleš Veselý : Point of Limit
1712:Aleš Veselý, Touches and distance
1334:, Carosso Fine Art, New York, USA
1000:, stainless steel, h. 280 cm
971:, stainless steel, h. 450 cm
341:, which also participated in the
1470:
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1430:1970 State Jewish Museum, Prague
762:Tree Trunk Through the Big Wheel
675:Destruction of Hidden Intentions
45:
1341:, Oda Park, Venray, Netherlands
1075:raised to the sky (symbolizing
1440:1965 Regional Gallery, Liberec
1313:, West Bohemian Gallery, Plzeň
1311:Older Objects and New Projects
1228:, Prague 1, 2–28 February 2016
1169:Central European Forum Olomouc
850:and the design of the project
774:Three gates for Pinkas's alley
1:
1701:Aleš Veselý, Chamber of Light
1424:1984 The Melon Palace, Prague
1325:Selected works from 1959–2005
1107:Representation in collections
748:(720 cm), 1982–1983 and
275:. His most famous sculpture,
150:he lived with his parents in
2085:21st-century Czech sculptors
2080:20th-century Czech sculptors
1773:Galerie Závodný: Aleš Veselý
1360:Obsession – Reality – Utopia
1320:, Zlatá Husa Gallery, Prague
1215:Solo exhibitions (selection)
1047:, Old Airport, Prague Ruzyně
770:Passage through an avalanche
691:Singing of Apocalyptic Birds
386:fall of the communist regime
369:, who visited the studio in
100:Academy of Fine Arts, Prague
1396:Aleš Veselý: Point of Limit
795:(1988) and later in Japan (
787:A personal experience with
730:Chairs, Seats, Beds, Wagons
156:the yellow six-pointed star
2116:
1931:Aleš Veselý: Litomyšl 2009
1679:Aleš Veselý, Hovering Rock
1193:Galerie Zlatá Husa, Prague
919:The Law of Irreversibility
905:Sculptures in public space
897:, Germany). The studio in
842:Starting with the project
837:The Law of Irreversibility
782:National Gallery in Prague
706:Symposium of Spatial Forms
497:The Law of Irreversibility
309:National Gallery in Prague
265:Symposium of Spatial Forms
198:Slovak Western Carpathians
164:Terezín Concentration Camp
1659:Aleš Veselý, Double Bench
44:
2013:Old Masters: Aleš Veselý
1845:Aleš Veselý: Zeichnungen
1839:Aleš Veselý: 35 drawings
1591:Nešlehová M, 1991, p. 26
1285:, Smečky Gallery, Prague
1197:Moravian Gallery in Brno
2048:Codes and Intermingling
1815:on Museum Kampa website
1269:Codes and Intermingling
1155:French National Library
1119:Centre Georges Pompidou
766:Passage under a boulder
305:Prayer for the Deceased
1148:Museum Bochum, Germany
1054:, CSA, via Bissolati,
829:Kadesh Barnea Monument
736:, Ed Spranger School,
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117:Critics' Prize at the
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1276:Duration and Settling
1201:Museum of Fine Arts,
1125:Galleria degli Uffizi
1093:Theresienstadt Ghetto
921:, Terezín Crematorium
801:Mountain of Mountains
661:was installed in the
596:Stalinist rape of art
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36:Prof., Acad. sculptor
2095:Czech male sculptors
2046:v GU Karlovy Vary /
2023:Artlist: Aleš Veselý
1447:, Alšova síň, Prague
1419:Drawings by Painting
1346:Utopie und Reflexion
1045:Enigma of the Circle
933:Distance and Touches
856:Touches and distance
659:Enigma of the Circle
514:, National Cemetery
134:– 14 December 2015,
1398:, Ballrooom of the
1172:Prague City Gallery
1097:Memorial of Silence
1081:Terezín family camp
871:Olympic Park, Seoul
860:Entrance to the Law
546:Memorial of Silence
313:Prayer for the Dead
2028:R.I.P. Aleš Veselý
1980:Michal Schonberg,
1811:2016-03-03 at the
1025:, Nové Sedlo near
951:Holocaust Memorial
942:, Europos Parkas,
926:Entry into the Law
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130:(3 February 1935,
1939:978-80-904919-0-8
1926:978-80-86415-50-5
1445:Stigmatic Objects
1437:, Vienna, Austria
1139:, Vienna, Austria
1113:Guggenheim Museum
1083:were murdered in
1069:Gate of no return
1063:Gate of No return
1036:, (originally in
1023:Oven from Jericho
912:Gate of No Return
702:Biennale de Paris
671:Untitled imprints
655:Enigmatic Objects
642:Stigmatic Objects
600:socialist realism
542:Gate of No Return
485:Entering the Law
456:Biennale de Paris
258:Biennale de Paris
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83:(2015-12-14)
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2075:2015 deaths
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1875:Aleš Veselý
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1863:Ales Vesely
1857:Aleš Veselý
1833:Ales Vesely
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566:Netherlands
512:Magen David
475:(1967–1969)
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371:Středokluky
331:Středokluky
187:abstraction
128:Aleš Veselý
39:Aleš Veselý
18:Ales Vesely
2064:Categories
1827:Catalogues
1483:References
1374:Messengers
1292:, Litomyšl
938:1998–2001
852:Big Mirror
616:Surrealism
558:Messengers
531:Kutná Hora
384:After the
317:Jan Palach
63:1935-02-03
1137:Albertina
1101:Holocaust
994:Testimony
958:Messenger
839:, 2015).
754:Hattingen
693:, etc.).
679:Martyrium
606:from the
604:Czech art
420:, PA, USA
379:Testimony
227:Kunstwerk
223:Czech art
172:gymnasium
96:Education
1984:, Torst.
1809:Archived
1323:2005/06
1316:2006/07
1190:, Prague
1181:, Prague
1166:, Prague
1085:Oswiecim
1032:1967–68
835:, 2005,
831:, 2005,
827:, 2003,
823:, 1997,
768:, 1991,
665:(1965).
649:for the
579:(1979),
544:(2015),
529:(2008),
499:(2015),
458:, France
402:Litomyšl
160:deported
1822:Sources
1203:Olomouc
1038:Ostrava
1034:Kaddish
980:Terezin
965:Memento
944:Vilnius
879:Vilnius
848:Vilnius
809:Kaddish
718:Kaddish
714:Kaddish
710:Ostrava
683:Inferno
627:tachism
612:Baroque
516:Terezín
501:Terezín
473:Kaddish
446:Liberec
442:Kaddish
326:Kaddish
303:(named
300:Kaddish
291:Liberec
278:Kaddish
269:Ostrava
231:Cimaise
196:in the
194:Sihelné
183:Academy
162:to the
1937:
1924:
1899:
1016:Bochum
969:Venray
891:Bochum
740:). In
734:Bochum
608:Gothic
581:Bochum
428:Awards
348:Bochum
283:Prague
176:Prague
136:Prague
132:Čáslav
114:Awards
89:Prague
71:Čáslav
1963:Other
1443:1963
1433:1969
1417:1985
1404:1990
1394:1992
1372:1995
1365:1998
1358:1999
1351:2000
1344:2000
1337:2000
1330:2003
1309:2007
1302:2007
1295:2007
1288:2009
1281:2010
1274:2011
1267:2012
1220:2016
1050:1963
1043:1965
1021:1973
1010:1979
1003:1980
998:Seoul
992:1988
985:1994
974:1995
963:1996
956:1999
949:2008
931:2010
924:2014
917:2015
910:2015
793:Seoul
746:Basis
436:1969
375:Seoul
1935:ISBN
1922:ISBN
1897:ISBN
1073:rail
1056:Rome
895:Hamm
778:Cage
738:Hamm
463:Work
252:and
229:and
142:Life
78:Died
57:Born
1005:Ten
708:in
614:to
289:in
267:in
213:in
2066::
1560:^
1526:^
1258:4
1251:3
1244:2
1237:1
1224:,
1103:.
978:,
893:,
889:,
885:,
881:;
877:,
689:,
685:,
681:,
618:.
564:,
260:.
233:.
178:.
780:(
728:(
65:)
61:(
20:)
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