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PAVEL KOPIVA HAND-BOOK3

Univerzita Jana Evangelisty Purkyn v st nad Labem / Jan Evangelista Purkyn University in st nad Labem Fakulta umn a designu Univerzity Jana Evangelisty Purkyn v st nad Labem / Faculty of Art and Design at Jan Evangelista Purkyn University in st nad Labem Univerzita Jana Evangelisty Purkyn v st nad Labem, 2010

texty / texts

NadpisPavel Kopiva je nedlnm a dleitm lnkem generace eskch vtvarnch umlc, jej nstup je spojen s atmosfrou poloviny devadestch let minulho stolet. Spolen s Jim ernickm, Lukem Jasanskm & Martinem Polkem, Krytofem Kinterou, Marktou Othovou, Jim Survkou i Kateinou Vincourovou a dalmi souputnky vnesl do mstnho umn problematiku vypjatho spoleenskho kontextu a rovn specickou tematiku postindustriln periferie. Kopiva se v t dob astnil cel ady zsadnch generanch vystoupen mezi kter lze zaadit napklad vstavy kurtor Jany a Jiho evkovch Zkuebn provoz (1995) a Snen rozpoet (1997) i reprezentativn projekty organizovan Sorosovm centrem souasnho umn (Krajina, 1993; Orbis Fictus, 1995). Ji tehdy pitom de noval vlastn, navsost originln postupy spojen jak s obsahovm zaclenm, tak s hybridnmi vyjadovacmi strategiemi. Pavel Kopiva pochz ze severnch ech z regionu tce zasaenho prmyslovou exploatac, kter byla pznan pedevm pro obdob totalitnho komunistickho reimu od padestch a do osmdestch let minulho stolet. Nebval rozvoj povrchov tby hndho uhl, navazujc produkce energie i tepla v ekologicky nevyhovujcch elektrrnch a cel ada obch chemickch zvod nenvratn zmnily charakter tto oblasti a bolestn se odrazily v mstn spoleensk struktue. Kopiva vyrstal v centru podkrunohorsk pnevn oblasti v bvalm lzeskm msteku Blina a nejprve podvdom a pozdji ji zcela odpovdn vnmal tivou absurditu i tragiku tchto proces. Msto se v t dob pipravovalo na znik sv existence mlo bt odteno, nebo se na jeho zem vyskytovaly nezanedbateln zsoby uhl. Kus za kusem Blina mizela a Pavel Kopiva asto vzpomn na pocit neudritelnosti vlastn existence, protoe vichni vdli, e dve i pozdji se jejich msto propadne do jmy povrchovho dolu. Cel autorovo dtstv je neodmysliteln spojeno s jemnm syenm dopravnkovho psu, kter transportoval znien sti msta, ve kterm il, do okolnch teplren, elektrren a na gigantick vsypky. Tento archetypln pocit ivotnho znejistn je ostatn zkladn strategi, kterou Pavel Kopiva vyuv pi konstrukci svch artefakt. Autor se nikdy nevymauje z okoln reality, je pevn ukotven v socio-kulturnm milieu transformujc se posttotalitn spolenosti, ale ponechv si nezadateln prvo glosovat sdlen kontext s uritou ironickou distanc. Zrodky tohoto postoje lze spatit ji v ranch Kopivovch dlech, a to pedevm v cel srii jeho relativizujcch instalac. Prvn z nich pod nzvem Elektrick kce pedstavil v roce 1993 na inicianm skupinovm vystoupen tzv. steckho nekonceptulnho okruhu v Galerii Citadela v Obecnm dom v Praze. (Spolen s nm se dnes ji legendrn manifestan vstavy Naruen rovnovha zastnili Ji ernick, Jitka Gringov, Daniel Hanzlk, Zdena Kolekov, Lucie Nepasick a Michaela Thelenov.) Pavel Kopiva tehdy vstavn prostor pehradil tm neprostupnou st run vyrobench elektrickch obvod, kter v divcch vyvolvala panick pocit ohroen. Pekku toti nebylo mon pekonat bez dotkn se jednotlivch segment a teprve a fyzick kontakt se zdnliv nebezpenm zazenm rozptlil obavy o jeho skuten funknosti. Syrovost a technicistn charakter tto instalace ovem reagoval na Kopivovu zkuenost s prmyslovou krajinou Podkrunoho a reprezentoval jednu z prvnch vizulnch metafor industriln periferie v eskm umn pro roce 1989. V procesu modelovn nejistch konotanch spojen Pavel Kopiva pokraoval v tematicky odlinm projektu UFO, kter v roce 1995 realizoval v rmci sklskho sympozia v Teplicch v echch. Vytvoil tehdy sklenn objekt evokujc tajemn ltajc tal, s pomoc autojebu ho vyfotografoval a snmek poslal do jednoho z denk s komentem o zaznamenn vesmrn lod nad severnmi echami. (Autor tak vlastn v odlinm Koleek5

kulturnm prosted transformoval slavn Skok do nicoty Yvese Kleina z roku 1960.) Toto dlo pitom stoj na potku Kopivova soustednho zjmu o mimozemsk civilizace, kter byl asi nejpregnantnji vyjden v roce 1999 v rmci jeho komplexnho projektu Area 51 prezentovanho v Galerii Vclava ply v Praze. Autor se tohoto exkluzivnho tmatu chpe se sob vlastn ironi a nastoluje tak zkladn otzku o jeho obecn relevanci i o samotnm faktu, e se stv pedmtem bezesporu seriznho vstavnho projektu. Mimodk tak divka pivd k poznn manipulanch strategi vizuln komunikace, kter jsou samozejm ptomny ve vtvarnm umn, ale pedevm zsadn ovlivuj sociln realitu prostednictvm dikttu masmdi. V roce 1995 rozmstil Pavel Kopiva v rmci vstavy Zkuebn provoz v praskm Mnesu srie elektronickch snma, kter na svch displejch reagovaly na pohyb osob po galerii (Men pro konkrtnost). Tato subversivn interaktivn instalace zstala cel ad nvtvnk skryta, nebo s spchem evokovala bezpenostn systmy. Teprve pi zven pozornosti bylo mon navzat s artefaktem spojen a rozvinout dialog mezi autonomn technickou strukturou (programovanou ovem umlcem) a uvdomlou tlesnou aktivitou jednotlivch recipient. Tma direktivn estetiky informanch systm Pavel Kopiva dle rozpracoval v srii intervenc do semi-vstavnch i veejnch prostor (Parazitujc umn, 1996). Pobl umleckch dl svch koleg i pmo v ulicch msta (Dubrovnk, 1998) autor rozmsoval tajemn obrazce, jejich tvarov typologie osciluje mezi osobitmi interpretacemi ustlench grackch ideogram, vizualizac fenomn ufologick symboliky a deformovanmi komiksovmi bublinami (ovem bez textov npln). Tyto objekty zneiovaly zorn pole nvtvnk vstav a kladly jim otzky spojen s problematikou kontroly nezdka elov vyvolvanch asociativnch proces i samotnou schopnosti vnmat souasn umn v cel i jeho spoleenskho zbru i expandujcch vyjadovacch prostedk. Nov prostor pro tvr experimenty se ped Pavlem Kopivou otevel, kdy se v rmci projektu Roll-on (1999) s spchem pokusil o estetickou recyklaci pouitch obal od kosmetiky. S vynaloenm znan nmahy a rukodlnch postup vyzdobil tyto zbytn pedmty vyezvanmi ornamentlnmi kompozicemi. Jejich instalaci pitom doplnil reklamnmi tabulemi nadnrodnch kosmetickch rem, ve kterch pekryl textov sdlen barevnmi geometrickmi plochami. Autor se tak dotkl problematiky designu a jeho vlivu na uitnou, ale tak hodnotovou sloku souasn prmyslov produkce a samozejm rovn ivotnho stylu. Ve sledovn tto oblasti Pavel Kopiva pokraoval v srii klamavch produkt, z nich za nejvznamnj lze povaovat site-specic instalaci Lokln problm prezentovanou v roce 2001 na vstav Finalist Ceny Jindicha Chalupeckho v Nrodn galerii v Praze i na IV. Bienle mladho umn ZVON v Galerii hlavnho msta Prahy. Jednotliv jej sti vyroben z pokovenho skla jakoby prorstaly i stkaly po zdi v psobivch a pekvapivch kompozinch celcch. Otevraj tak vstavn prostor, nebo nastoluj otzku vnitku a vnjku a zrove odkazuj k luxusn mimo galerijn estetice spotebnch pedmt odhaluj nai touhu vlastnit tyto lkav produkty bez vyuiteln funkce. Jako extrmn podntn se rovn ukzal penos Kopivovch vyjadovacch strategi do odlinho socilnho kontextu, a to kdy realizoval v Galerii SPACES v americkm Clevelandu svj projekt Everybody needs the podium (2006). Autor ve vstavnm prostoru vytvoil vrnou kopii brie ng roomu z Pentagonu, kterou vtina z ns zn pouze z mdi a m ji spojenou s klovmi prohlenmi komentujcmi zsadn vojensk zsahy americk armdy. Pizval pitom nvtvnky galerie, aby si tento exkluzivn prostor osvojili a prostednictvm rznorodch aktivit do nho intervenovali. Za urit prozatmn vyvrcholen umleckch experiment Pavla Kopivy potom lze povaovat projekt HiVOIM (High Voltage Image) z roku 2009, na kterm spolupracoval Koleek6

s Laborato nanovlken Technick univerzity v Liberci. Autor realizoval cyklus miniaturnch obraz prostednictvm vysoce sostikovan technologie skldn nanovlkenn struktury v zvislosti na vodivosti podkladovho materilu a na pichzejc hodnot vysokho napt. Pokusil se vlastn poprv vyut tento vdeck postup pro umleck vyjden a propojil oblast vzkumn aktivity s neomezenm prostorem tvr imaginace. Tento pouhm okem tm neviditeln obraz, tak estetizuje samotn hranice lidskch schopnost a pedstav. Ohldneme-li s uritm odstupem dlo Pavla Kopivy, a tento katalog k tomu dv dobrou pleitost, vyjev se nm, e jeho tematick zjmy zstvaj setrval. Stle je fascinovn funknmi i dysfunknmi spojenmi mezi technologiemi a lovkem, bav se komentovnm nevysvtlitelnch zhad lidsk existence, modeluje ktivn konspirativn sociln systmy i navrhuje design pedmt bez praktickho posln. Co se vak zsadnm zpsobem zmnilo, je kontext, ve kterm se autor pohybuje vdy jak mentln i technick propast zeje mezi jeho pseudo-elektrickmi instalacemi a jednm z poslednch projekt vyuvajcm nanotechnologie? Pesto ns na Pavlu Kopivovi stle fascinuje tm klukovsk touha pijt vcem na kloub, nahradit nedostupn een vce mn absurdnmi vychytvkami a inspirovat se rozporuplnou zkuenost dospvn v inverzn realit industriln periferie huskovskho eskoslovenska. Autorv tvr rdius, kter bychom mohli parafrzovat Act Locally, Think (and Present) Globally, se nezdka stv omezujcm elementem jeho postaven na esk scn. Na druhou stranu prv latentn okrajovost in jeho jedinen opakovan (i spe navazovan) pbhy tolik lkav a obecn srozumiteln v mezinrodnm kontextu. Michal Koleek

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NadpisPavel Kopiva is an integral and important part of the generation of Czech artists whose onset is connected with the atmosphere of the mid 1990s. Together with Ji ernick, Luk Jasansk & Martin Polk, Krytof Kintera, Markta Othov, Ji Survka or Kateina Vincourov, and others, he has brought the issue of an intense social context into the local arts, and also the specic topic of a post-industrial periphery. At that time, Kopiva participated in a number fundamental generational presentations, including exhibitions prepared by curators Jana and Ji evk Zkuebn provoz / Trial Operation (1995) and Snen rozpoet / Reduced Budget (1997) or representative projects organized by the Soros Center for Contemporary Art (Krajina / Landscape, 1993; Orbis Fictus, 1995). Then actually he had already de ned his own, utterly original techniques connected with both content aiming and hybrid expressional strategies. Pavel Kopiva comes from North Bohemia a region heavily aected by the industrial exploitation that was especially typical of the period of the totalitarian communist regime between the 1950s and 1980s. The unprecedented development of pit coal-mining followed by the production of energy or heat in environmentally inconvenient power plants, and a number of giant chemical plants have changed the character of this area irrevocably and painfully inuenced the local social structure. Kopiva grew up in the centre of the Ore Mountain coal basin, in a former spa town, Blina, and rst unconsciously, later with full responsibility, perceived the oppressive absurdity and tragedy of these processes. The town was then getting ready for the end of its existence it was supposed to be mined away as there were considerable resources of coal in its territory. Bit by bit, Blina was disappearing, and Pavel Kopiva o en remembers a feeling of the untenability of their own existences, as everybody knew that, sooner or later, the town was going to fall into the coal-mining pit. An essential part of the entire authors childhood is the ne hiss of the conveyor belt transporting the destroyed parts of the town he lived in to the heating plants, power plants, and pit heaps in the neighbourhood. This archetypal feeling of lifes uncertainty is actually the basic strategy Pavel Kopiva uses when constructing his artefacts. The author never extricates himself from the surrounding reality, he is rmly embedded in the socio-cultural milieu of the transforming post-totalitarian society, but he reserves his inalienable right to gloss the shared context from a certain ironic distance. It is possible to see germs of this attitude already in Kopivas early works, especially in the whole series of relativizing installations. The rst one called Elektrick kce / Electric Fiction was presented in 1993 at the initiatory group performance of the so-called st Neoconceptual Circle in Galerie Citadela in Obecn dm, Prague. (Together with him, the already legendary exhibition called Naruen rovnovha/ Disturbed Balance was attended by Ji ernick, Jitka Gringov, Daniel Hanzlk, Zdena Kolekov, Lucie Nepasick and Michaela Thelenov.) Pavel Kopiva then partitioned the exhibition space with an almost impermeable network of handmade electrical circuits, which made viewers feel panic because it was impossible to overcome the barrier without touching the individual segments. Only the physical contact with a seemingly dangerous device dissipated concerns about its real functionality. However, its crudeness and the technicist character of this installation reacted to Kopivas experience with the industrial landscape at the foot of the Ore Mountains, and represented one of the rst visual metaphors of the industrial periphery in Czech art a er 1989. Pavel Kopiva continued the process of modelling uncertain connotation connections in a thematically dierent project UFO he completed in 1995 as part of a glass symposium in Teplice echch. He h i T li v h h H then created a glass object evoking a mysterious ying saucer, took d l bj ki Koleek8

a photograph of it from a truck crane, and sent it to a newspaper with a commentary about seeing an alien spaceship over North Bohemia. (In fact, the author transformed the famous Yves Kleins Leap into the Void from 1960 into another cultural milieu.) Actually, this work is the beginning of Kopivas concentrated interest in extraterrestrial civilizations that was probably most pregnantly expressed in 1999 in his complex project Area 51 presented in Vclav pla Gallery, Prague. The author takes this exclusive topic with an irony typical for him, and in this way he brings up the fundamental question of its general relevance, and also of the very fact that it becomes the subject of a unarguably serious project. Instinctively, he drives the viewer to learn about the manipulation strategies of visual communication that are naturally present in visual art but which, above all, fundamentally inuence social reality through the dictate of mass media. In the exhibition Zkuebn provoz/Trial Operation in Mnes, Prague in 1995, Pavel Kopiva placed a series of electronic sensors, which on their displays reacted to the movement of people around the gallery (Men pro konkrtnost/Measuring for Factualness). This subversive interactive installation remained hidden to a number of visitors because it successfully evoked security systems. Only when they increased their attention, could they link up with the artefact and develop a dialogue between this autonomous technical structure (programmed by the artist, though) and the conscious physical activity of individual recipients. Pavel Kopiva further developed the topic of directive esthetics in the series of interventions to semi-exhibition or public spaces (Parazitujc umn / Parasitizing Art, 1996). Near artworks by his colleagues or directly in the streets of the town (Dubrovnik, 1998), the author placed mysterious patterns, the formal typology of which oscillated between peculiar interpretations of established graphic ideograms, visualizations of ufological symbology phenomena, and deformed comics bubbles (but without the text lling). These objects contaminated the viewers visual eld and asked them questions connected with the control of o en purposely provoked associative processes, and with the very ability to perceive contemporary art to the full extent of its social scope and expanding expressional media. A new space for creative experiments opened before Pavel Kopiva when in his project Roll-on (1999) he successfully tried the esthetic recycling of used cosmetic containers. With a great deal of eort and handcra techniques, he decorated these useless objects with engraved ornamental compositions. The author here touched on the issue of design and its inuence as both utility and a value component of current industrial production and, of course, lifestyle too. Pavel Kopiva continued in his observation of this area in his series of sham products, the most signicant of which we can consider the site-specic installation Lokln problm / Local Problem presented in 2001 at the exhibition of works by Jindich Chalupeck Award Finalists in the National Gallery in Prague or at the 4th Biennial of Young Art ZVON in City Gallery Prague. Its individual parts made of coated glass as if they were growing through or owing down the walls in impressive and surprising composition units, opened the exhibition space, as they raised the question of inside and outside, and at the same time referred to the luxurious extra-gallery esthetics of consumer objects they disclose our desire to own these alluring products without a usable function. Transfer of Kopivas expressional strategies to a dierent social context proved extremely inspiring too, when he completed his project Everybody Needs the Podium (2006) in the SPACES Gallery in Cleveland, USA. In the gallery the author created a true copy of a Pentagon brie ng room, which most of us only know from the media and associate with key announcements commenting upon principal military interventions by the US Army. He invited visitors of the gallery to usurp this exclusive space and intervene in it by means of various activities. Koleek9

The project HiVOIM (High Voltage Image) from 2009, in which Pavel Kopiva cooperated with the Laboratory of Nanobres at the Technical University of Liberec, can be considered the climax of his artistic experiments thus far. The author completed a cycle of miniature pictures by means of highly sophisticated technology composed of a nanobre structure depending on surface material conductivity, and on the value of incoming high voltage. In fact, he is the rst to try to use this scientic technique for artistic expression and to interconnect this area of research with the unlimited space of creative imagination. This picture, almost invisible to the naked eye thus esthetizes the very boundaries of human abilities and visions. When we look at Pavel Kopivas work from a certain distance, a stance for which this catalogue provides a good opportunity, we nd that his thematic interests remain steady. He is still fascinated by the functional or dysfunctional connections between technologies and humans, he amuses himself with commenting on the unexplainable mysteries of human existence, models ctional conspiracy social systems, or designs objects without any practical function. What has changed fundamentally, however, is the context the author is found in just look at the mental and technical chasm yawning between his pseudo-electric installations and one of his latest projects using nanotechnologies! In Pavel Kopiva we are yet fascinated by his almost boyish desire to get to the bottom of things, replace unavailable solutions by more or less absurd gadgets, and be inspired by the inconsistent experience of growing up in the inverse reality at the industrial periphery of Huskian Czechoslovakia. The radius of the authors creation, which could be paraphrased as Act Locally, Think (and Present) Globally, o en becomes a limiting element to his position on the Czech scene. On the other hand, it is precisely his latent marginality that makes his uniquely repeated (or rather continued) stories so attractive and generally understandable in an international context. Michal Koleek

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Design neznmho vzkumuExistuje bezpoet stynch ploch souasnho umn, designu a pokroilch technologi v rmci reexe souasnho svta. V tvorb Pavla Kopivy se setkvaj v pozoruhodn interakci. Navzjem se ohledvaj, zkoumaj, inspiruj a lehce provokuj; se vzjemnm respektem, pochopenm a nemalou dvkou smyslu pro humornou nadszku, v harmonick symbize. Mylenka pstupu k umn s exaktn vbavou vdce a pstupu k vd s imaginac umlce nen nikterak nov, nicmn 20. stolet a tm spe stolet 21. vneslo do tohoto vztahu dynamiku, kterou je teba uchopit s mimodnm vhledem a nadhledem. Vra v technologie nahrazuje tradin chpn pokroku v intencch humanizace, kterou si vysnily generace lozof a umlc. Technick pokrok jako nezpochybniteln fenomn in nai civilizaci stle vce fascinujc a zrove kehkou a zranitelnou. V Kopivov ppad nejde o nahodilou nebo povrchn inspiraci vnj podobou technologi veho druhu, piem nejde jen o technologie industrilnho typu, ale i o technologie sociln manipulace a fungovn nejrznjch systm. Nejde mu o jejich samoeln vyuit motivovan dosaenm vizulnch efekt. Pavel Kopiva je umlcem, kter na svt rozlinch technologi nahl jako na mechanizmy, kter ovlivuji chod a podobu svta, ani by bylo jasn, jsou-li si jejich autoi a provozovatel vdomi dostaten sv odpovdnosti a dsledk svho ponn. Kopivu fascinuj systmy, kter zdnliv psob a vypadaj jako dokonale propracovan, zaloen na exaktnch premisch a ospravedlujc svou existenci svrchovan racionln argumentac. Vdeck vzkum, kosmick vboje, armda, spoleensk a politick struktury. Pronikavj pohled odhal nejen etn praskliny na jejich domnle kompaktnm povrchu, ale i vudyptomn aspekt iracionality. Iracionln je nejen slep vra v tyto systmy (ani by bylo obecn znmo, jak vlastn funguj). Iracionln jsou sten i pohnutky jejich tvrc, bez ohledu na intelektuln kapacitu a odborn zzem, kterm disponuj. Kopiva nenabz pouze viditeln povrch, jakousi vizuln slupku tchto proces, atraktivn ve sv mnohotvrnosti. Je pedevm pemlivm a ironickm prvodcem provokujcm a vybzejcm divka, aby si kladl otzky nejen o podstat systm, ale o sv roli v jejich rmci a vztahu k nim. Jednou z nejbizarnjch poloh, kde se setkv schopnost lovka uvit v nekonen monosti technologi, je fenomn UFO a ve, co s nm souvis. V tomto ppad jde o vru v technologie nadpozemsk, ruku v ruce s vrou, e existuje inteligentn entita pesahujc pozemskou zkuenost, majc zjem o svt lid. Lid, kte do UFO a mimozemsk inteligence projektuj sv nenaplnn sny o dokonalosti. Kopiva se na pd tto velkolep iluze pohybuje jako chpan mysti ktor snac se svrchovan vtvarnmi prostedky zprostedkovat mimozemsk zitek, kter ve svm dsledku obrac pozornost zpt k zemi a jejm vlastnm monostem. Jeho UFO je objekt vytvoen zcela pozemsky z pokovenho lehanho skla Supersilver, kter m uniktn optick vlastnosti dky obsahu kovu a bylo vyvinuto pro vkov budovy. Mysterizn objekt je ve skutenosti stejn pozemsk jako naivn pedstavy o mimozemskch civilizacch. Sms mt, stereotyp, sciencection i serizn snahy dobrat se pravdy, kter obestr ufologii, je pro umlce zdrojem nekonen inspirace. V projektu May Day (2001) nachzme pouze technick vybaven zhadnho utajenho vzkumu. Nevme, kdo a co zkoum. Jen tume, e zde probh proces, kter ns zajm, ale o kterm se nikdy nedozvme pravdu. Pocit znepokojen autor vyvolv zmrn. Vidme lokalitu evidentn zasvcenou intenzivnmu vdeckmu vzkumu, pracovit zejm narychlo oputn, pravdpodobn evakuovan a vystaven nebezpe destrukce nebo toku. Zjiujeme, e pozemsk vzkum a tajnstkstv s nm spojen je sm o sob stejn zneklidujc jako zkoumn mimozeman. Zvuk policejnch vyslaek Polaneck13

a vstran erven svtla upozoruj, e je nejvy as znu opustit, co je zrove velmi dobr dvod setrvat a ekat, co se stane. Nicmn podstata dje stejn jako podstata manipulace s jeho vsledky se odehrv jinde, mimo obzor divka, kter to podvdom tu a pesto se nedoke oprostit od fascinace tm, co je pro nho uchopiteln zde a nyn. Bez ohledu na to, do jak mry je schopen proniknout pod povrch dje. Jsme svdky alegorickho podobenstv fungovn lidskho chovn tv v tv jevm pesahujcm bnou zkuenost, pem pi hlubm zamylen dojdeme k tomu, e jsou zde zkoumny vzorce lidskho chovn obecn. Nemus jt pouze o percepci proces, kter jsou veobecn pijmny jako zhadn. Ve skutenosti jsme denn konfrontovni s nepochopitelnmi procesy v rmci systm, kter spadaj do sfry sociln, kde bychom oekvali podstatn vt mru obecnho konsenzu. Kopivovo sarkastick demaskovn svta politickch a armdnch struktur je rovn zaloeno na jejm vnjm designu, kter se v poslednch dekdch stv zsadnm faktorem politickho ivota. Politika je rovn svho druhu esoterickm svtem s vlastnmi pravidly. Navenek se projevuje jednak proklamacemi, kter je vdy nutno interpretovat zasvcenmi vykladai, na druh stran vce i mn propracovanm systmem zahrnujcm vechny oblasti vizuln kultury: grackm designem politickch kampan ponaje, pes odvy politik a impozantnost armdnch uniforem, a po propracovan aranm veejnch vystoupen performanc svho druhu. Prv tato vizuln sloka vybaven specickou symbolikou a ikonogra nejvce atakuje a ovlivuje sociln mechanizmy. Instalace v galerii SPACES v Clevelandu, USA pin vrnou kopii brie ngroomu Pentagonu, kter je svho druhu divadeln scnou, kde design kostm a aranm situace hraje zsadn roli (Everybody Needs The Podium 2006). Umlec tuto platformu nabz kadmu, kdo je ochoten se zapojit do diskurzu, m vyzdvihuje paradox skutenosti, e u pouh naruen vizulnho schmatu smrem k svtu bnch oban (kterm m moc slouit) ukazuje, jak je moc elit od kadodenn reality vzdlena. Vstupem civilist nebo naruenm kompozice, jako by se hroutil cel systm, bez ohledu na to, jak sdlen zazn. Pokud ovem akti diskurzu pijmou kostmy a masky elit a zaujmou sprvnou pozici ve schmatu, je ve v podku i v ppad, e produkuj dut bezobsan frze. Vizuln atributy systm (a dern slogany) jsou pro vtinu pozorovatel toti asto jejich jedinou uchopitelnou slokou, na zklad kter se s nimi bu identi kuj nebo rozchzej. Kopiva ovem nen pouhm analytickm glostorem a mystiktorem se smyslem pro parodii. Nabz nm exkurze do novch dimenz naeho svta a vybavuje ho pozoruhodnmi inovacemi. Krom cennch experiment s vyuitm souasnch elektronickch mdi a hi-tech materil doke jako jeden z mla vyuvat i technologie tradin k ryze souasnmu vrazu. Nensleduje trend, kter se prosadil v urit linii designrsk tvorby, pevdjc banln pedmty do svrchovan klasickch materil jakmi jsou sklo a porceln. Vyuit skla je u Kopivy pmoarm atakem na smysly pomoc vlastnost, ktermi jin substance nedisponuje a zrove se sklo stv jen jednm z pouitch mdi. Autor bez rozpak vyuv estetiku sklskch technik do dsledk, ani by ovem spolhal vlastnosti materilu, kter je atraktivn sm o sob. Jeho projekty ze stbenho skla, kter zaal realizovat jet ped obnovenm zjmem sklskch umlc o tuto tradin techniku, vnesly vtan impulzy nejen do souasnho vizulnho umn, ale i do specickho prosted sklskho umn. Objekty nejasn funkce a uren, ukznn respektujc technick tvaroslov nebo naopak organicky pojat, se dokaly nejednoznanho pijet sklskou umleckou komunitou. Kopivovo nekonvenn vyuit skla je zcela v kontextu jeho umleck tvorby a zrove oivuje scnu umleckho skla, na co ped asem upozornil Milan Hlave: Pavel Kopiva vnm pokoven sklo jako jakhosi mutanta mezi kovem a sklennm materilem. V instalacch jm relativizuje skutenost a umouje tak rzn interpretace. Svm posledn projektem chtl ovem pedevm tlumoit svj nzor, e, podstatn nen to, co pohltm, ale co odrazm, vyzm Polaneck14

dl. Podstatn nen samo mdium, ale schopnost mdia vyzaovat.1 Kopivovy technicistn objekty ze stbenho skla pipomnaj zsobnky chemikli i hasc pstroje konvertovan na chrlie holaviny, v klidu neten ekajc na svou chvli. Jejich lesk evokuje luxus i steriln svt laborato. Npisy na povrchu indikuj obsah: Liquid Art Inside, Explosive Gas. Laboratorn pstup je ptomn i v tom, e vstavn prostor je zrove djitm performanc a promnlivch instalac (Ke chameleona 2004). Jindy nechv umlec vyrstat ze stn stbit kapky, kter sm charakterizuje: Metalick nkaza prosakujc se do architektury odjinud, poukazuje na plivou schopnost krsy a dokonalosti napadnout n ivot a ovlivovat ho. Leskl povrch odr ve v okol a pohlcuje i divka do tohoto pekrsnho ommen. 2 Objekty nastavuj svj zrcadlov povrch okolnmu dn, ani by samy o sob postrdaly jedinenost (Lokln problm 2001). V obou ppadech pedkldaj transformaci objektivn reality reex okol, kter svou nahodilost a nevyhnutelnou deformovanost de nuje novou optickou dimenzi. V nkterch projektech vede odraz a k zmrnmu splynut s prostedm. V jinch zrcadlov kontury odrej jedna druhou pi vzjemnm prolnn odlinch identit, piem divk vstupujc mezi n se stv soust dla. Kombinace zrcadlcch objekt a ivch aktr, a ji fyzicky ptomnch nebo elektronicky zprostedkovanch, je odkazem na ddictv vtvarnho umn pedchozch dekd a zrove hold novm technologim, jako je napklad ezn skla vodnm paprskem nebo ji zmiovan materil Supersilver. Mnohostrannost Kopivovy tvorby potvrzuj projekty z posledn doby. Svt piovho vdeckho vzkumu a umleck tvorby spojil v realizaci s nzvem High Voltage Image (2009) ve spoluprci s Laborato nanotechologi Technick univerzity Liberec. Projekt HiVOIM sleduje fenomn skldn nanovlken struktury v zvislosti na vodivosti podkladovho materilu a na pichzejc hodnot vysokho napt. Nanovlkna jsou pesnji rozmstna v mstech s vt vodivost a tm je mon doshnout zenho zsahu do struktury jejich vazby. HiVOIM je miniaturn obraz vznikajc v nanoprostoru. 3 Jako by z jinho svta pichz objekt nazvan Hi Je! (2009) realizovan v rmci mezinrodnho sympozia IGS 2009 v Novm Boru, kter pmo odkazuje na tvorbu Jea Koonse. Kopiva znovu vyuv ulechtilou techniku stbenho skla a zrcadlo, aby spojil do jedinenho vrazu tpytiv svt ke s absurdn vidinou mimozemskho pikniku, kdy je krli mutant, uloven dalm autorovm vynlezem sklennou pistol, opkn na vronech plynu. Jaroslav Polaneck

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Hlave, Milan, Kopiva, Pavel: Ke chameleona. Atelir 18, 2005, . 1, s. 1. http://www.pavelkopriva.name/lokalni.htm http://www.pavelkopriva.name/hivoim.htm

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Design of Unknown ResearchThere are countless interfacial areas between contemporary art, design, and advanced technologies reecting the current world. In Pavel Kopivas creation they meet in a remarkable interaction. They examine, explore, inspire, and slightly provoke each other; with mutual respect, understanding, and a goodly dose of sense of humorous hyperbole in a harmonic symbiosis. The idea to approach arts with the exact apparatus of a scientist, and to approach science with the imagination of an artist is not new at all; however, the 20th and especially the 21st century has brought dynamics into this relation which must be handled with particular insight and a detached view. Trust in technologies replaces the traditional understanding of progress in keeping with a humanization dreamt of by generations of philosophers and artists. Technological progress as an unquestionable phenomenon makes our civilization ever more fascinating, and at the same time, fragile and vulnerable. In Kopivas case, it is not an incident or supercial inspiration by the outer similarity of technologies of all kinds, and it is not only about industrial technologies, but also technologies of social manipulation and the functioning of various systems. He is not trying to use them in a purposeless way motivated by the desire to reach visual eects. Pavel Kopiva is an artist who sees the world of various technologies as mechanisms inuencing how the world works and looks, without being sure if their authors and operators are adequately aware of their responsibilities and the consequences of their actions. Kopiva is fascinated by systems that seem and look to be perfectly elaborated, based on exact premises, and justifying their own existence by means of absolutely rational argumentation such as scientic research, space conquest, the army, social and political structures. A detailed view will not only detect numerous ruptures on their seemingly compact surface, but also an omnipresent aspect of irrationality. Irrationality consists not only in the blind trust in these systems (without a general knowledge of how they actually work). In fact, there is a portion of irrationality in the motives of their creators, regardless of the intellectual capacity they dispose of. Kopiva does not oer just the visible surface, a kind of visual skin of these processes that is attractive in its variety. He is, above all, a thinking and ironic guide, provoking and inviting the viewer to ask questions not only about the essence of systems, but also about their roles within the systems and their relation to them. One of the most bizarre situations where the human ability of believing in the endless possibilities of technologies is shown is in the phenomenon of the UFO, and everything that is associated with it. In this case, it is a belief in extra-terrestrial technologies, hand in hand with a belief that there is an intelligent power beyond the terrestrial experience which is interested in the human world - a world of humans who project their unsatised dreams about perfection onto the UFO and extra-terrestrial intelligence. In the territory of this grandiose illusion, Kopiva moves like an understood mysticator trying to mediate an extraterrestrial experience using purely graphic means, which in consequence attracts attention back to the Earth and its own possibilities. His UFO is an object made, quite earthly, of coated slumped glass Supersilver that has unique optical properties thanks to the metal content, and has been developed for high-rise buildings. The mysterious object is actually equally terrestrial as naive fantasies of extraterrestrial civilizations. The mixture of myths, stereotypes, science-ction, as well as serious eort to nd out the truth, which ufology is clouded in, is a source of endless inspiration for the artist. In the project called May Day (2001) we only nd technical equipment of an obscure, secret research. We do not know the researcher, and we do not know what they research. We just guess there is a process we are interested in, but we are never going to learn the truth about it. The author makes viewers feel uneasy on purpose. We can see a locality evidently Polaneck16

devoted to intensive scientic research, a site apparently le in haste, probably evacuated and exposed to the danger of destruction or attack. We nd out that terrestrial research and the caginess connected with it is as worrying itself as the investigation of extraterrestrials. The sound of police radios and red warning lights signal that it is high time to leave the zone, which is at the same time a very good reason to stay and wait to see what happens next. However, the substance of the action, as well as the substance of the manipulation is happening elsewhere beyond the viewers horizon, who suspects it subconsciously, but in spite of that, is unable to free themselves from being fascinated by what is graspable for them here and now, regardless of the extent to which they are able to penetrate under the surface of the action. We witness an allegorical parable of how human behaviour works face to face with phenomena transcending common experience; and a er deeper thought we come to the conclusion that it is patterns of human behaviour in general which are being examined here. It is not necessarily about perception of processes that are commonly considered mysterious. Actually, every day we are confronted with incomprehensible processes within systems falling within the social sphere where we would expect a much higher degree of general consensus. Kopivas sarcastic unmasking of the world of political and military structures is also based on its outer design, which has become an essential factor of political life over the past decades. Politics is also a sort of esoteric world with its own rules. On the outside, it is characterized by proclamations on the one hand, which always have to be interpreted by well-informed interpreters, on the other hand, it is more or less a sophisticated system involving all areas of visual culture: starting from the graphic design of political campaigns, through the politicians clothes and the impressiveness of military uniforms, up to the elaborate management of public appearance a performance of its kind. It is precisely this visual element equipped with a specic symbolism and iconography which attacks and inuences social mechanisms the most. The installation in SPACES Gallery, Cleveland, USA portrays a true copy of the briefing room in the Pentagon, which is a sort of a theatre scene, where the design of the costumes and the situation of management plays a fundamental role (Everybody Needs the Podium 2006). The artist oers this platform to anyone who is willing to join the discourse, which emphasizes the paradox of the fact that just eroding the visual scheme towards the world of common citizens (who are supposed to be served by the power) shows how far away the power of the elites is from everyday reality. When civilians enter the composition or violate it, it is as if the whole system has collapsed, regardless of the messages to be heard. However, if the participants of the discourse accept the costumes and masks, and take the right position in the scheme, everything is all right, even though they produce hollow phrases with no content. For most observers, visual attributes of systems (and striking slogans) are o en their only graspable component, based on which they either identify with them or split with them. However, Kopiva is not a mere analytical glossarist and mysticator with a sense of parody. He oers us excursions into new dimensions of our world, and equips it with remarkable innovations. Besides his valuable experiments using present-day electronic media and hi-tech materials, he is one of the few who is also able to use traditional technologies for purely contemporary expression. He does not follow the trend that has been established in a certain line of designing which transfers banal objects into utterly classical materials, such as glass and china. Using glass in Kopiva is a straight-lined attack on the senses by means of properties which are not available for any other substance. At the same time, glass becomes one of the media being used. The author does not hesitate to use the esthetics of glassmaking techniques, without counting on the properties of the material which are attractive in themselves. He started to complete projects made of silvered glass Polaneck17

before glass artists again became interested in this traditional technique, which brought welcomed impulses not only into contemporary visual art, but also into the specic scene of the glass arts. Objects of obscure function and purpose, orderly in respect to technical morphology or, on the contrary, with an organic conception, have had an ambiguous reception by the community of glass artists. Kopivas unconventional use of glass is fully in context with his artistic creation and at the same time, it vivies the art glass scene as Milan Hlave has noted: Pavel Kopiva perceives coated glass as a sort of mutant between metal and glass material. In his installations, he uses it to relativize reality and this way, he permits dierent interpretations. However, in his latest project, he mainly wanted to express his attitude that the substantial is not what I absorb, but what I reect further. The substantial is not the medium itself, but the ability of the medium to reect.1 Kopivas technicist objects from silvered glass resemble containers for chemicals or re-extinguishers converted into throwers of inammables quietly and torpidly waiting for their moment. Their gloss evokes both luxury and the sterile world of laboratories. Signs on their surface indicate the content: Liquid Art Inside, Explosive Gas. We can feel the laboratory approach also in the fact that the exhibition space is at the same time a scene of performances and changeable installations (Chameleons skin 2004). In another work, the artist lets silver drops grow from walls and characterizes them: Metallic infection inltrating architecture from elsewhere points out the sneaking ability of beauty and perfection to attack our lives and inuence them. The glossy surface reects everything around and drags the viewer into this beautiful daze. 2 Objects turn their mirror surface towards the surrounding events, without losing the uniqueness of their own (Local problem 2001). In both cases they present the transformation of objective reality by reecting the vicinity. By its accidentalness and inevitable deformation, this reection de nes a new optical dimension. In some projects, the reection eventuates in a purposeful merger with the environment. In others, mirror contours reect each other while dierent identities blend together, and a viewer stepping between them becomes part of the artwork. A combination of mirroring objects and live participants, whether physically present or electronically mediated, refers to the heritage of arts in previous decades, and at the same time, becomes a tribute to new technologies, such as cutting glass with a jet of water or the above-mentioned Supersilver material. The versatility of Kopivas creation has been proven in his recent projects. He has interconnected the world of top-level scientic research and artistic creation in a realization called High Voltage Image (2009) in cooperation with the Laboratory of nanobres at the Technical University of Liberec. The HiVOIM project observes the phenomenon of creating the nanobre structure depending on the surface material conductivity, and on the value of the incoming high voltage. Nanobres are accurately located in places with higher conductivity, which enables a controlled intervention in the structure of their bonding. HiVOIM is a miniature picture emerging in the nanospace.3 As if from another world comes the object called Hi Je! (2009), completed at the international symposium IGS 2009 in Nov Bor, which directly refers to Je Koons works. Kopiva again uses the noble technique of silvered glass and a mirror to connect the glittering world of kitsch with the absurd vision of an extraterrestrial picnic where a rabbit mutant hunted with another authors invention a glass gun is being barbecued on gas ames. Jaroslav Polaneck

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Hlave, Milan, Kopiva, Pavel: Ke chameleona (Chameleons Skin). Atelir 18, 2005, No. 1, p. 1. http://www.pavelkopriva.name/lokalni.htm http://www.pavelkopriva.name/hivoim.htm

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Koleek19

landart

7 il1992, landartov akce; iv vtve, provaz

7 veins1992, landart action; live branches, rope

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Kabty EKOCIDE1993, instalace; textil, barva, kabely, vtve /Panensk Tnec/

Coats EKOCIDE1993, installation; textile, paint, cables, branches /Panensk Tnec/

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fikce / fiction

Elektrick fikce1993, instalace; kabely, plech, elektina

Electric fiction1993, installation; cables, sheet metal, electricity

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Zahrdksko-pstitelsk fikce1993, instalace; devo, plech, hmota, fotografie

Gardening-agricultural fiction1993, installation; wood, sheet metal, matter, photographs

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Logika jako fikce1994, instalace; popel, pigment, reflexn samolepa

Logic as a fiction1994, installation; ash, pigment, reflective sticker

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Sklenn objekt byl pouit pro vytvoen fotografie UFO, kter byla publikovna v regionlnm tisku. Pesvdiv dkaz zhady spustil lavinu zjmu odborn i laick veejnosti. The glass object was used for creating a photograph of a UFO that was published by regional media. This convincing proof of a mystery started an avalanche of interest in both the professional and non-professional public.

ufologie / ufology

U.F.O1995, objekt; pokoven lehan sklo Supersilver, samolepa

U.F.O1995, object; Supersilver coated slumped glass, sticker

U.F.O1995, objekt; pokoven lehan sklo Supersilver, samolepa

U.F.O1995, object; Supersilver coated slumped glass, sticker

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Jet vce lesku1999, objekt; pokoven lehan sklo, titan

Yet more gloss1999, object; coated slumped glass, titanium

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Narozen 19472000, objekt; stben sklo, armybox, kufr, zvuk

Born 19472000, object; silvered glass, army box, suitcase, sound

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Transcendentln cviebna1997, instalace; pokoven lehan sklo Supersilver, cviebn pomcka36

Transcendental exercise room1997, installation; Supersilver coated slumped glass, exercise aid

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Fuji2001, objekt; hlink, svtlo, elektronika, kabely

Fuji2001, object; aluminium, light, electronics, cables

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Atarova deka1999, objekt; it techtex

Atars pad1999, object; sewn techtex

Modr mudra1999, objekt; patinovan sdra, sklo

Blue mudra1999, object; patinated plaster, glass42

AK 381999, relif; bl uml hmota Komtex

AK 381999, relief; white Komtex plastic43

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Bl Lilie1999, relif; bl uml hmota Komtex

White Lily1999, relief; white Komtex plastic45

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May Day2001; digitln tisk 70 x 50 cm

May Day2001; digital print 70 x 50 cm 47

prostorov intervence / space interventions

Topografie1998, instalace; bl uml hmota Komtex

Topography1998, installation; white Komtex plastic

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Parazyte Art1996, instalace; bl uml hmota Komtex50

Parasite Art1996, installation; white Komtex plastic

Bl plastov objekty okupuj a zneiuj prostor za dly ostatnch umlc na spolen vstav, vtina dokumentanch fotografi umleckch dl z dan vstavy obsahuje m parazity. White plastic objects occupy and contaminate the space behind other artists works at a group exhibition; most of photographs to document the artworks at the exhibition include my parasites.

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Bhem akce Public district jsem na msc zabral typick reklamn prostor na bocch autobus svmi neutrlnmi obrazy a tm jsem cestujc osvobodil na krtkou chvli od ink reklamy. During the Public District event, I occupied the typical advertising space on sides of buses for a month with my neutral pictures, which freed passengers for a short time from the effects of advertising.

Univerzln Filmov Obrzky1999, signmaking na autobusech; samolepka

Universal Film Pictures1999, sign making on buses; sticker52

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Ke chameleona2004, instalace; zrcadla, svtlo, kamera, dataprojektor, stben sklo

Chameleons skin2004, installation; mirrors, light, camera, data projector, silvered glass

My space your home1996, performance v instalaci Robin Kollemann

My space your home1996, performance in Robin Kollemanns installation

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Bhem instalace vstavy Manifesta 1 v Rotterdamu jsem 10 dn il se svou enou v absolutn blm prostoru, kter na zklad mho portfolia vytvoila holandsk umlkyn R. Kollemann During the installation of Manifesta1 in Rotterdam, I stayed with my wife in an absolutely white space that had been created by a Dutch artist R. Kollemann based on my portfolio.

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Projekt vyuv reklamnch fotografi znm automobilky a fdnch fotografi zeleniny a kvtin ke kritice zpsob psychologick manipulace klienta. Oteven kapota dokonalho vozu poukazuje na mon problm v kadm systmu. Reklamn fotografie jsou pozmnny v detailech oproti originlu tak, e jsou zvraznny nepodstatn detaily. The project uses advertising photographs of the famous car maker and dull photographs of vegetables and flowers to criticize the way a client is psychologically manipulated. The lifted bonnet of a perfect car points out the potential problem of any system. The advertising photographs are modified in details compared to the original, so that insubstantial details are accentuated.

naruen systmy / impaired systems

Anatomie mechanismu1997, instalace pro Mercedes-Benz; digitln tisky na vinilu

Anatomy of mechanism1997, installation for Mercedes-Benz; digital prints on vinyl

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Roll on1999, detail instalace; fotografie, proezvan uml hmota

Roll on1999, installation detail; photograph, cut-through plastic

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Lokln problm2001, instalace; stben hutn tvarovan sklo, zvuk

Local problem2001, installation; silvered glass, kiln-formed glass, sound

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Mal zbran2005, instalace; webkamery, dataprojektor, fotografie

Small weapons2005, installation; webcameras, data projector, photographs

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Everybody need the podium2006, performance v instalaci; digitln tisky, objekty

Everybody need the podium2006, performance in an installation; digital prints, objects

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Limitovan svoboda2007, instalace; zrcadla ezan vodnm paprskem

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Limited freedom2007, installation; mirrors cut by means of a water ray

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Kdo pozn zde vystaven vci?/WER ERKENDT DIE HIER AUSGESTELLTEN DINGE WIEDER?/ 2007, instalace; nalezen pedmty, DVD player

Who can recognize the things exhibited here?/WER ERKENDT DIE HIER AUSGESTELLTEN DINGE WIEDER?/ 2007, installation; found objects, DVD player

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Instalace pracuje s fenomnem kriminality, znak a dkaz, kter odkazuj ke zloinu nebo divn udlosti. Vytvoil jsem mapu msta a vybral deset potencilnch mst na jeho zem. S tmito msty souvis vystaven vci. Vizuln instalace napodobuje policejn mstnost s nalezenm dkaznm materilem a kad nvtvnk si me utvoit vlastn hypotzu. The installation works with the phenomenon of criminality, signs and proofs that refer to a crime or a strange event. I created a world map and chose ten potential places on earth. Some of the exhibited things are related to these places. Visually, the installation resembles a police room with evidence collected, and each visitor can create their own hypothesis.

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Nekonen modlitba2008, video instalace; LCD TV, polopropustn zrcadlo

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Endless prayer2008, video installation; LCD TV, semi-permeable mirror

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vda a technika / science and technologies

Jejich ivoty1999, video 30 min.

Their lives1999, video 30 min.

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Nanoface2007, video 1 min. 48 sec.; polopropustn zrcadlo, nanovlkenn struktura

Nanoface78

2007, video 1 min. 48 sec.; semi-permeable mirror, nanofibre structure

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Projekt sleduje fenomn skldn nanovlken struktury v zvislosti na vodivosti podkladovho materilu a na pichzejc hodnot vysokho napt. Nanovlkna jsou pesnji rozmstna v mstech s vt vodivost a tm je mon doshnout zenho zsahu do struktury jejich vazby. HiVOIM je miniaturn obraz vznikajc v nanoprostoru. The project observes the phenomenon of composing a nanofibre structure depending on surface material conductivity, and on the value of incoming high voltage. Nanofibres are more accurately located in places with higher conductivity, which enables a controlled intervention in the structure of their bonding. HiVOIM is a miniature picture emerging in nanospace.

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HiVIOM High Voltage Image2009, instalace; nanovlkenn struktura, sklo, projekce

HiVIOM High Voltage Image2009, installation; nanofibre structure, glass, projection

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chybn zazen / false devices

Minimaxy2004, objekty; stben brouen sklo, kov

Minimaxes2004, objects; silvered ground glass, metal83

Glass weapons2008, objekty; stben brouen sklo

Glass weapons2008, objects; silvered ground glass

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Mluvc puka2008, objekt; stben sklo, hlink, kabely, samolepka, zvuk

Talking rifle2008, object; silvered glass, aluminium, cables, sticker, sound85

Sociln perk1997; kabely, chip, modurit

Social jewel1997; cables, chip, modurit

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Hi Jeff2009, objekt; stben hutn tvarovan sklo, zrcadlo

Hi Jeff2009, object; silvered, kiln-formed glass, mirror

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interaktivn instalace / interactive installations

Plny nadskutena1995, detail instalace; stben sklo, hlink, kabely, samolepka, zvuk

Plans of transreality1995, installation detail; silvered glass, aluminium, cables, sticker, sound91

Vnitn obraz1994, svteln instalace; zrcadla, diaprojekce

Inner picture1994, light installation; mirrors, slide projection

Mezi 2199495, detail instalace; on-line penos meteorologickch dat, animace, infra zvora92

Between 2199495, installation detail; on-line transmission of meteorological data, animation, infra bar

On-line penos satelitnch dat z meteorologickho stavu do prostoru galerie a jejich transformace z numerick do obrazov podoby pomoc IR senzor. The on-line transmission of satellite data from the Meteorological Institute to the gallery and transforming them from numerical into visual form by means of IR sensors.93

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Red Light Insecurity20012007; IR idla, kabely, elektronika, LED display

Red Light Insecurity20012007; IR sensors, cables, electronics, LED display

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Systm odpotvajcch displej, kter jsou aktivovny pohybem nvtvnka. Kad z nich je zen optickm senzorem. Displaje vypadaj neaktivn, dokud divk nespust odpotvn, kter se me zastavit kdykoli. Displeje jsou podobn tm, kter pouvaj terorist na vbuninch. erven svtlo sugeruje pocit nejistoty, kter zvis na podmnkch, kde jsou displeje umstn. A system of countdown displays that are activated by a visitors move. Each of them is controlled by an optical sensor. The displays seem to be inactive until the viewer triggers the countdown, which may start at any time. The displays are similar to those terrorists use for their bombs. The red light suggests a feeling of insecurity which depends on the conditions where the displays are located.

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Men pro konkrtnost1995; LED diody, PC contoler, IR idla, plexi sklo, samolepka

Measuring for factualness1995; LEDs, PC controller, IR sensors, plexiglass, sticker101

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Transformer2010, objekt; redesignovan nalezen objekty, kov, kabely

Transformer2010, object; redesigned accidently found objects, metal, cables103

Heavy Duty HD2010, instalace; digitln tisky, zrcadla, kancelsk idle

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Heavy Duty HD2010, detail instalace; revolver Z, kou, kancelsk idle

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Motor2010; digitln tisk 70 x 100 cm

Motor2010; digital print 70 x 100 cm106

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PAVEL KOPIVA

CURRICULUM VITAEborn 6 September 1968 in Duchcov, Czech Republic education 198286 Secondary School of Applied Arts in Jablonec nad Nisou 198789 Department of Art Education at the Pedagogical Faculty in st nad Labem 198995 Academy of Architecture, Art and Design in Prague (prof. Harcuba, prof. Matasov) Masters Degree (Mgr.A) 200004 Academy of Architecture, Art and Design (AAAD) in Prague doctoral study, PhD Degree scholarships 2006 Ohio Art Council, Spaces Gallery, Cleveland, Ohio, USA 1997 Bildwerk Frauenau, DE 1998 Vila Waldberta, Kulturreferat, Munich, DE 1992 Pilchuck Glass School, Seattle, USA

symposiums 1995 Symposium of Flat Glass, Teplice, CZ 2000 7. IGS Nov Bor, CZ (International Glass Symposium) 2003 8. IGS Nov Bor, CZ 2009 10. IGS Nov Bor, CZ

www.pavelkopriva.name pedagogical activities 199703 AAAD Prague, senior lecturer at Studio of Conceptual and Intermedia Creation 200407 Technical University Liberec, senior lecturer at Studio of Visual Communication 2007 Faculty of Art and Design, UJEP, st nad Labem, head of the Interactive Media Studio 1999, 2011 Bildwerk Frauenau, DE 2010 The Studio, Corning Museum of Glass

solo exhibitions 2010 Forest Mixture, (with Karolna Kopivov) Glass-making Museum, Nov Bor, CZ HEAVY DUTY, Galerie Via art, Prague, CZ Nanoface, Faculty of Chemical Technology at the University of Pardubice, CZ Glas-Kunst-Orte, Neues Rathaus, Weiden, DE 2009 Everything is So Slow, Gallery of Modern Art Roudnice nad Labem, CZ 2008 Cosmetics, Galerie pejchar, Chomutov, CZ 2006 EVERYBODY NEEDS A PODIUM, Spaces Gallery, Cleveland, Ohio, USA 2005 Small Weapons, Galerie Jelen, Prague, CZ Spygame, Galerie Sokolsk 26, Ostrava, CZ Spygame, Galerie Raketa, st nad Labem, CZ 2004 Chameleons Skin, AAAD Gallery, Prague, CZ 2003 FLUCTUANT INSTALLATIONS, performance together with Buchty a loutky theatre, studio of vanda Theatre Prague, CZ 2002 MAY DAY, Galerie U kostela, Blina, CZ 2001 MAY DAY, The Czech Museum of Fine Arts, Prague, CZ 1999 Shallow Surface, Galerie Die Aktualitet des schonen, Liberec, CZ AREA 51, Vclav pla Gallery, Prague, CZ AREA 51, ICA-D Gallery, Dunajvarosz, H 1998 Shallow Surface, Galerie mladch, Galerie u dobrho paste, Brno, CZ 1997 Faded-Out, Galerie U blho jednoroce, Klatovy /with J. ernick/, CZ Anatomy of Mechanism, For Art Mercedes, Prague /with M+M, Munich/, CZ, DE 1995 Plans of Transreality, Emil Filla Gallery, st nad Labem, CZ 1994 Anatomy, Galerie Sutern, st nad Labem, CZ 1992 Small show room, Liberec, CZ 1991 Open Border of a Flat, st nad Labem, CZ

participation in collections Galerie U blho jednoroce Klatovy CZ Czech Museum of Fine Arts, Prague CZ Glass-making Museum, Nov Bor, CZ Museum of Decorative Arts in Prague, CZ

group exhibitions 2010 POLICE THE POLICE, 4th Bucharest Biennale for Contemporary Art, Bucharest, RO Interface, Galerie Nod, Prague, CZ Making Worlds, Emil Filla Gallery, st nad Labem, CZ Formate der TransormationTransformation 8909, Museum auf Abruf, Vienna, AT 2009 Formats of Transformation 8909, Dm pn z Kunttu, Brno, CZ New Old Cold War, 3rd Moscow Biennale of Contemporary Art, Krasnyj Oktjabr, Moscow, RU Nanoscope, Dox Gallery, Prague, CZ Rebus Sic Stantibus, Emil Filla Gallery, st nad Labem, CZ Adapt, festival Enter4, Dox Gallery, Prague, CZ Brittle Beauty of Silvered Glass, New Town Hall, Prague, CZ 2008 Aeronale, Airport Prague Ruzyn, CZ Rebus Sic Stantibus, Aboa Vetus, Turku, FI Big Gruppen Painting, Hala 23, Prague, CZ

2007

2005

2004

2003 2002

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1999

1998

Hot Destination, Marginal Destiny, Motorenhalle, Dresden, DE Transgenesis, Academy of Sciences of the Czech Republic, Prague, CZ Unsafe Distance, Ciant, dm U kamennho zvonu, Prague, CZ Space for Intuition, City Gallery Prague, Prague, CZ Made in Bor, Glass-making Museum, Nov Bor, CZ Brittle Beauty of Silvered Glass, Muzeum umavy, Suice, CZ Zerbrechlische Schonheit des Silberglases, Wallfahrtmuseum, Neukirchen, DE Broader Stream, Pilsen Municipal Gallery, Plze, CZ 4th New Zln Salon, House of Art Zln, CZ Insiders, Futura Gallery, Prague, CZ Observatory, Kunst im Palais, Dresden, DE Hot Destination, Brno House of Arts, Brno, CZ Insiders, Dm pn z Kunttu, Brno, CZ About, Czech Museum of Fine Arts, Prague, CZ Object, Moravian Gallery, Brno, CZ ZVON, Biennale of young Czech artists, City Gallery Prague, Prague, CZ 5th New Zln Salon, State Gallery Zln, CZ Object, Czech Museum of Fine Arts, Prague, CZ East of Eden, Czech centre, Munich, DE Jindich Chalupeck Award Final, National Gallery, Veletrn Palace Prague, CZ Trans Globe, Mnes Gallery, Prague, CZ Alles in Bewegung, Galerie Barakk, Berlin, DE The End of World, NG Kinsk Palace, Prague, CZ On a free theme but to the point, Vclav pla Gallery, Prague, CZ VIA 2000, VIART Gallery / public art project/, Prague, CZ Actual, City Gallery Prague, Prague, CZ 90th continue, Emil Filla Gallery, st nad Labem, CZ East of Eden, Culture Centre Castle Poznan, PL East of Eden, Wyspa Art Gallery, Gdansk , PL Story, NoD Gallery, Prague, CZ 100 + 1, Czech Museum of Fine Arts, Prague, CZ Ten Chapters of Nature, Kunstmuseum, Karlruhe, DE Ten Chapters of Nature, Art gallery, Rhethymno, Crete, GR Symposium of Iron Sculpture, NG Veletrn Palace, Prague, CZ Common Fairy-Tales, Gallery U blho jednoroce, Klatovy, CZ 2nd Zln Salon, State Gallery Zln, CZ PUBLIC DISTRICT, Emil Filla Gallery, st nad Labem, CZ 99 CZ, Wenceslas square, Prague, CZ Body and Photography, PragueKoln, CZ Asi, Asi, Asistenti, AAAD show room, Prague, CZ About Nature, Central Bohemian Gallery, Prague, CZ

1997

1996

1995 1994 1993

1991

Black and Blue, Club Otok Gallery, Dubrovnik, HR Ten Chapters of Nature, Crac Alsace, Altkirch, F Provincial Format, Emil Filla Gallery, st nad Labem, CZ The Morning of the Magicians, NG, Veletrn Palace, Prague, CZ 1st Zln Salon of the Young, State Gallery Zln, CZ Sever, Vclav pla Gallery, Prague, CZ Art in Public Space, NG, Veletrn Palace, Prague, CZ Metamorphosis, Bosnia and Herzegovina Gallery, Sarajevo BiH Interior vs. Exterior, Cosmos premises, Bratislava SK Hi-Tech and Art, Brno House of Arts, Brno, CZ Private Anamnesis, St. Adalbert Church, st nad Labem, CZ MANIFESTA 1, V2 institute, Rotterdam, NL Trial Operation, Mnes Gallery, Prague, CZ Orbis Fictus, Waldstein Riding School, Prague, CZ Istropolitana project, Bratislava, SK New Names, Vclav pla Gallery, Prague, CZ Landscape in Contemporary Art , Dm U kamennho zvonu, Prague, CZ Disturbed Balance, Emil Filla Gallery, st nad Labem, CZ Disturbed Balance, Galerie Citadela, Prague, CZ Young Artists from Prague, Kunstmuseum, Dusseldorf, DE Biennale of Art Schools, Barcelona, E

PAVEL KOPIVA HAND-BOOK

Univerzita Jana Evangelisty Purkyn v st nad Labem Fakulta umn a designu Univerzity Jana Evangelisty Purkyn v st nad Labem Edice: Acta Universitatis Purkynae AUP 158 Edice FUD UJEP ada: Projekty Odpovdn redaktor: Daniel Hanzlk Recenzenti: ??? Texty / Texts by: Michal Koleek, Pavel Kopiva, Jaroslav Polaneck Peklad / Translation: Josef Prochzka Jazykov korektury / Copy Editors: Marta Nokov Grack design / Graphic design: Jakub tpnek Foto / Photo: archiv autora, Martin Polk Vydn prvn Poet stran: 112 Nklad: 500 ks ISBN 978-80-7414-249-9 Univerzita Jana Evangelisty Purkyn v st nad Labem, 2010 Univerzita Jana Evangelisty Purkyn v st nad Labem Hoen 13 400 96 st nad Labem Fakulta umn a designu Univerzity Jana Evangelisty Purkyn v st nad Labem Pasteurova 9 400 96 st nad Labem Telefon: +420 475 285 111 E-mail: miroslav.matousek@ujep.cz www.fud.ujep.cz

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