Tomáš Moravec / selected works2011 - 2015

Containing selection of projects and realizations between years 2011 and 2015. For more detailed documentation and complete portfolio, please visit:

www.tomasmoravec.cz. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Tomáš Moravec / vybrané práce2011 - 2015

2EVDKXMH� Y¿EÝU� SURMHNWĬ� D� UHDOL]DF¯� PH]L� OHW\� ����� D� �����������������������3UR�GHWDLOQÝMЯ�GRNXPHQWDFL�D�NRPSOHWQ¯�SRUWIROLR�SURV¯P�QDYĞWLYWH�

www.tomasmoravec.cz. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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videostill: Pallet, 2008, © author’s archiveVQ¯PHN�]�YLGHD��3DOHWD��������© archiv autora. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

DOO�ULJKWV�UHVHUYHG���YĞHFKQD�SU£YD�Y\KUD]HQDk������7RP£Ğ�0RUDYHF. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Sketches in bronze2011 — 2015

The drapery covering the object acts as a borderline of observable DQG�DFWXDO�YROXPH���,W�FRYHUV��EXW�UHYHDOV�LWV�VKDSH�DW�WKH�VDPH�WLPH��A literal description of what happens before and after this line fails and corresponds rather to our subjective experience and imagina-tion. Completely banal situation, where two parts of one happening only a thin membrane separates, a little child is fond of. One can not be seen, but also does not see what is happening outside. Both ZRUOGV�DUH�PXWXDOO\�OLQN�DQG�PD\�KDYH�SDUDGR[LFDOO\�FORVHU�WR�HDFK�other, because the reaction comes suddenly, without calculation and H[SHFWDWLRQV��6WRFNV�DUH�LQWHUWZLQHG�IRUPV�JURZ�DQG�IDOO��DQG�WKHUH�LV�nothing that would remain for more than determine the actual need.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Skici v bronzu2011 — 2015

'UDSHULH�]DNU¿YDM¯F¯�SĖHGPÝW�VH�FKRY£�MDNR�UR]KUDQ¯�SR]RURYDWHOQ«KR�D� VNXWHÏQ«KR� REMHPX�� =DNU¿Y£�� DYĞDN� YH� VWHMQRX� FKY¯OL� SUR]UD]XMH�MHKR� WYDU�� 'RVORYQ«� SRSV£Q¯� WRKR�� FR� VH� RGHKU£Y£� SĖHG� D� ]D� WRXWR�KUDQLF¯� VHOK£Y£� D� RGSRY¯G£� VS¯ĞH� QDЯ� VXEMHNWLYQ¯� ]NXĞHQRVWL�������������������������D� SĖHGVWDYÝ�� 9H� ]FHOD� EDQ£OQ¯� VLWXDFL�� NG\� GYÝ� Ï£VWL� GÝMH� RGGÝOXMH�SRX]H�WHQN£�PHPEU£QD�QDĞOR�]DO¯EHQ¯�PDO«�G¯WÝ��1\Q¯�QHQ¯�YLGÝW��DOH�DQL�RQR�VDPR�QHYLG¯�FR�VH�GÝMH�YHQNX��2ED�VYÝW\�VH�Y]£MHPQÝ� WXЯ���������D� PRĻQ£� PDM¯� N� VREÝ� SDUDGR[QÝ� EO¯ĻH�� SURWRĻH� UHDNFH� SĖLFK£]HM¯�]QHQDG£Q¯��EH]�NDONXOX�D�RÏHN£Y£Q¯��6WDY\�VH�SURO¯QDM¯��IRUP\�URVWRX�����D�SDGDM¯�D�QHQ¯�QLF��FR�E\�VHWUYDOR�G«OH�QHĻ�MDN�XUϯ�DNWX£OQ¯�SRWĖHED��. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Estimating of the monument, 2011, HD-video (24’56’’)Sketches in bronze, 2015, bronze cast objects, wooden plinths (5 pcs.)installation view: *DOHULH�'LH�$NWXDOLW¦W�GHV�6FK¸QHQ��/LEHUHF������. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Odhadování pomníku, 2011, HD-video (24’56’’)Skici v bronzu��������EURQ]RY«�RGOLWN\��GĖHYÝQ«�VRNO\����NV��pohled do instalace: *DOHULH�'LH�$NWXDOLW¦W�GHV�6FK¸QHQ��/LEHUHF������. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Sketches in bronze, 2015, bronze cast objects, wooden plynths (5 pcs.)17,5x35x120 cm / each

Objects modeled according to the videostills as the only reference and visual material. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Skici v bronzu��������EURQ]RY«�RGOLWN\��GĖHYÝQ«�VRNO\����NV������[��[����FP���NDĻG¿

2EMHNW\� PRGHORYDQ«� SRGOH� VQ¯PNĬ� ]� YLGHD�� NWHU«� E\O\� MHGLQ¿P�UHIHUHQÏQ¯P�D�]GURMRY¿P�PDWHUL£OHP�. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Question of superficial affection2012 — 2015

The exhibition project Question of superficial affection (extended) is a continuation of series begun by the same name video piece from ������ $� VFRSH� RI� WKH� LQWHUHVW� IRFXVHV� RQ� WKH� TXDOLW\� RI� SK\VLFDO�change of material exposed to the effect of implosion. The object collapses inwards without visible causes and thus we witnesses œQDWXUDOŔ�WUDQVIRUPDWLRQ�RI�DQ�LQDQLPDWH�PDWWHU��3UHIDEULFDWHG�PHWDO�container changes from regular prism-shaped into a more organic UDWKHU�H[SUHVVLYH�ORRNLQJ�REMHFW��7KLV�QDWXUDO�SKHQRPHQRQ�FRXOG�EH�SHUFHLYHG� DV� œDVVRFLDWLYH� SK\VLFVŔ� DQG� DFFHQWXDWHV� TXHVWLRQV� RI�ostensible stability, repetitive failure, or progressive change in time.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

2W£]ND�O¯ELYRVWL�SO£ĞWÝ2012 — 2015

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Question of superficial affection, 2012, HD video: 00:03:51 (loop)

Single shot of rotating object in process of implosion.installation view: *DOOHU\�2))�)250$7��%UQR������. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

2W£]ND�O¯ELYRVWL�SO£ĞWÝ��������+'�YLGHR������������VP\ÏND�

=£]QDP�URWXM¯F¯KR�REMHNWX�Y�SURFHVX�LPSOR]H�pohled do instalace: *DOHULH�2))�)250$7��%UQR������. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Repetitive failure, 2015, objects (8 pcs.)

,PSORGHG�FDQ\VWHUV���[��[���FP���HDFKinstallation view: %%���*DOOHU\��/LQ]������. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Opakované selhání,�������REMHNW\���LPSORGRYDQ«�NDQ\VWU\����NV��

,PSORGRYDQ«�NDQ\VWU\���[��[���FP���NDĻG¿pohled do instalace: *DOHULH�%%����/LQHF������. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Hand in glove, 2013, HD video, 08’00’’ (loop)

7KH�YLGHR�ZRUN��+DQG�LQ�JORYH��DSSURSULDWHV�WKH�VFXOSWXUH�'DV�6HLQ�(1917) by Gustinus Ambrosi by means of intervention, focused upon WKH�RSHQ�JHVWXUH�RI�WKH�RULJLQDO�DUWZRUN��7KH�UHDO�WLPH�LPSORVLRQ�DQG�deformation of the object inserted "into the hands of Ambrosi" may be interpreted as a metaphor to an idea, the fragile substance, which can change by the course of events, while still being held by someone. Thus, the change itself is less noticeable in the actual PRPHQW��EXW�PRUH�YLVLEOH�LQ�WKH�EDFNZDUG�SHUVSHFWLYH�

videostills: https://vimeo.com/86139931. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Hand in glove, ������+'�YLGHR����ő��őő��VP\ÏND�

Video "Hand in glove" apropriuje sochu Das Sein (1917) Gustina $PEURVLKR�� IRUPRX� LQWHUYHQFH�� ]DPÝĖHQ«� QD� RWHYĖHQ«� JHVWR�SĬYRGQ¯KR�G¯OD��,PSOR]H�D�GHIRUPDFH�REMHNWX�GRVD]HQ«KR�œGR�UXNRX�$PEURVLPXŔ� PĬĻH� E¿W� LQWHUSUHWRY£QD� MDNR� PHWDIRUD� P\ĞOHQN\��NĖHKN«� O£WN\�� NWHURX� QHVHPH�� SĖHVWRĻH� VH� SRVWXSHP� ÏDVX� PÝQ¯��6DPRWQ£� SURPÝQD� MH� WDN�P«QÝ� ÏLWHOQ£� Y� DNWX£OQ¯P�PRPHQWX�� DOH�YLFH�Q£SDGQ£�SĖL�]SÝWQ«P�SRKOHGX�

VQ¯PN\�]�YLGHD���KWWSV���YLPHR�FRP���������. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Situation: Question of superficial affectionperformative proposition forThyssen-Bornemisza Augarten Contemporary 21LQ�IUDPHZRUN�RI�6XSSHU�&OXE������$�+\EULG�SURSRVLWLRQ5 instructed waiters. 5 tin-cans under implosion process 2013

Processual series of sculptures that are ‘served’ to the audience. ,QLWLDOO\� SURMHFWLQJ� WKH� IXQFWLRQ� RI� SURWHFWLRQ� DQG� VWDELOLW\�� WKH�REMHFWVő�SK\VLFDO�TXDOLWLHV�WUDQVIRUP�LQ�WLPH��. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

6LWXDFH��2W£]ND�O¯ELYRVWL�SO£ĞWÝSHUIRUPDWLYQ¯�UR]YUK�SURThyssen-Bornemisza Augarten Contemporary 21Y�U£PFL�6XSSHU�&OXE������$�+\EULG�SURSRVLWLRQ���LQVWUXRYDQ¿FK�ϯĞQ¯NĬ����NDQ\VWUĬ�SRG�YOLYHP�LPSOR]H�2013

6«ULH� SURFHVX£OQ¯FK� VRFK�� �VHUY¯URYDQ¿FK�� SXEOLNX�� 3ĬYRGQÝ�RÏHN£YDQ£� IXQNFH� VWDELOLW\� D� RFKUDQ\� VH� SURPÝćXMH� Y� ÏDVH� VSROX�������������V�I\]LFN¿PL�DVSHNW\�REMHNWĬ�. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Panic room2014

The exhibition project Panic Room is the third common realization of D� WULR�RI� DXWKRUV�$O�$OL��'XE�DQG�0RUDYHF�� UHODWLQJ� WR� WKH� LVVXHV�RI�contemporary architectural development of cities and suburban ODQGVFDSHV��,Q�.DUO¯Q�6WXGLRV��WKH\�DUH�GHYHORSLQJ�WKH�SRVVLELOLWLHV�RI�the use of modular system structural units, which they represent in the extreme position of technocratically set order. This creates a scene of commenced construction, the resulting interpretation of ZKLFK�LV�GHSHQGHQW�RQ�VRFLDO�GHPDQGV�RQ�WKH�TXDOLW\�RI�DUFKLWHFWXUH�itself.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Panic room2014

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Panic room�� ������ LQVWDOODWLRQ�� ��� WRQV� RI� FRQFUHWH� EULFNV�� EOXH�construction fabric, 3D visualisation - print on banner

installation view:.DUOLQ�6WXGLRV�JDOOHU\��������3UDKDZLWK�0DWHM�$O�$OL�DQG�3HWU�'XE�. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Panic room�� ������ LQVWDODFH�� ��� WXQ� EHWRQRY¿FK� WY£UQLF�� PRGU£�VWDYHEQ¯�WNDQLQD���'�YL]XDOL]DFH���WLVN�QD�EDQQHU

pohled do instalace:.DUOLQ�6WXGLRV�JDOOHU\��������3UDKDV�0DWHMHP�$O�$OL�D�3HWUHP�'XEHP�. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Handle with care and criticism2014

The exhibition examines the perception of public space as a place determined by different socio-economic interests – the aim to LQFUHDVH�WKH�HIIHFWLYHQHVV�RI�WKH�UHDO�HVWDWH�PDUNHW��WKH�SUHVHQWDWLRQ�of social prestige through architectural products and at the same WLPH�DOVR�D�ILHOG�LQIOXHQFHG�E\�FRPPRQ�ZRUNLQJ�UHTXLUHPHQWV�DQG�FRQGLWLRQV�RI�FLYLO�HQJLQHHULQJ��,Q�D�VHULHV�RI�YLGHR�LQVWDOODWLRQV�DQG�objects the artists instinctively uncover layers between motives of contemporary urban development and virtual models of future EXLOGLQJV�� ,Q� D� VHQVLWLYH� \HW� FULWLFDO� ZD\� WKH\� GUDZ� DWWHQWLRQ� WR�conflicts connected with our ideas of an ideal life in architecture with a definitely new and perfect face. However, the every-day reality in WKHLU� SUHVHQWPHQW� ORRNV� PDLQO\� DV� D� VHW� RI� FRQVWDQW� EXLOGLQJ�PDNHVKLIWV�. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Handle with care and criticism2014

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Handle with care and criticism, 2014, video installations, material constallation, various materials, dimensions variable

installation view:3U£GHOQD�%RKQLFH��������3UDKDZLWK�0DWHM�$O�$OL�DQG�3HWU�'XE�. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Handle with care and criticism��������YLGHRLQVWDODFH��PDWHUL£ORY£�NRQVWHODFH��UĬ]Q«�PDWHUL£O\�L�UR]PÝU\

pohled do instalace:3U£GHOQD�%RKQLFH��������3UDKDV�0DWHMHP�$O�$OL�D�3HWUHP�'XEHP�. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Gammaobjectlatex balloon, expansive foam, tripod, 120x35x35 cm2012

Random structure created by physical material process inside the balloon, without contact of the author.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

GammaREMHNWÏHUQ¿�ODWH[RY¿�EDORQ��H[SDQ]LYQ¯�SÝQD��VWDWLY�����[��[���FP2012

1DKRGLO£�VWXNWXUD�Y\WYRĖHQ£�I\]LFN¿P�PDWHUL£OQ¯P�SURFHVHP�XYQLWĖ�EDORQ��EH]�NRQWDNWX�DXWRUD�. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

installation view / pohled do instalace:Fatal jump from a stool, Gallery Trafó, Budapest, (H), 2014

Short guide2014HD video, 01’08’’ (loop)

Subjective journey through the exhibition space during the installa-tion process - "leviation loop" - using hair dryer to hold the object in WKH�DLU��ZKLOH�ZDONLQJ�WKURXJK�WKH�JDOOHU\�VSDFH�Exhibition Zone in motion, DOX - centre for contemporary art, Prague . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Short guide2014+'�YLGHR����ő��őő��VP\ÏND�

6XEMHNWLYQ¯� FHVWD� Y¿VWDYQ¯P� SURVWRUHP� Y� SUĬEÝKX� LQVWDODFH� ���OHYLWDÏQ¯� VP\ÏND�� �� SRPRF¯� Y\VRXĞHÏH� YODVĬ� XGUĻXML� REMHNW� YH�Y]GXFKX��]DW¯PFR�SURFK£]¯P�JDOHUL¯�Výstava Zóna v pohybu, '2;���FHQWUXP�SUR�VRXÏDVQ«�XPÝQ¯��3UDKD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

YLGHRVWLOOV���VQ¯PN\�]�YLGHD��https://vimeo.com/86113738

Opencall�ZLWK�0DWÝM�$O�$OL�2013

The authors´ videos and objects are manifestations of „basic UHVHDUFKœ�� 7KH� ŕDSSOLHGœ� LV� OHIW� H[FOXVLYHO\� WR� WKH� YLHZHUV�� 7KH\�themselves go beyond the drill of site specific cooperation and for WKH�ILUVW�WLPH�ZRUN�WRJHWKHU�RQ�D�EURDGHU�F\FOH�RI�ZRUNV�WKDW�FRXOG�EH�transferred into various galleries. The result of this constellation is not the constant negotiation of authors with gallery situation but defragmented installation paraphrasing main principles of scouting RU�� EHWWHU�� LWV� LGHDOLVWLF� EDFNJURXQG�� 7KH� DXWKRUV� WHVW� OHJLWLPDF\� RI�graphic use of iconographic concepts (watch, flag, rope, etc.) and FDSDFLW\�RI�PDQLSXODWLRQ�RI�D�YLHZHU� WKURXJK�RSWLFDO� LOOXVLRQ�� ,Q�DQ�effort to escape from the curators‘ dictate they test the fragile border between ideals, ideology and demagogy. They practice diplomacy whose aim is not to push one´s own interests but rather the search for something thatwe may call collective sharing of authenticity.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

OpencallV�0DWÝMHP�$O�$OL2013

9LGHD� D� REMHNW\� DXWRUĬ� MVRX� SURMHY\� ŕ]£NODGQ¯KR� Y¿]NXPXœ�� 7HQ�ŕDSOLNRYDQ¿œ� QHFK£YDM¯� Y¿KUDGQÝ� QD� GLY£NRYL�� 6DPL� SĖHNUDÏXM¯�RYÝĖHQ¿� GULO� VLWH� VSHFLILF� VSROXSU£FH� D� SRSUY«� VSROHÏQÝ� SUDFXM¯� QD�ĞLUЯP�F\NOX�GÝO�SĖHQRVQ«P�GR�UĬ]Q¿FK�Y¿VWDYQ¯FK�SURVWRU��9¿VOHG-NHP� W«WR� NRQVWHODFH� QHQ¯� SUĬEÝĻQ«� Y\MHGQ£Y£Q¯� DXWRUĬ� V� JDOHULMQ¯�VLWXDF¯��DOH�GHIUDJPHQWRYDQ£� LQVWDODFH�SDUDIU£]XM¯F¯�KODYQ¯�SULQFLS\�VNDXWLQJX� ÏL� MHĞWÝ� O«SH� MHKR� P\ĞOHQNRY«KR� SR]DG¯�� $XWRĖL� WHVWXM¯�OHJLWLPQRVW�JUDILFN«KR�Y\XĻLW¯�LNRQRJUDILFN¿FK�SRMPĬ��KO¯GND��YODMND��ODQR��DG���D�NDSDFLWX�PDQLSXODFH�GLY£ND�VNU]H�RSWLFNRX�LOX]L��9H�VQD]H�XQLNQRXW� NXU£WRUVN«PX� GLNW£WX� SRNRXĞHM¯� NĖHKNRX� KUDQLFL� PH]L�LGH£O\�� LGHRORJL¯� D� GHPDJRJL¯�� 3UDNWLNXM¯� GLSORPDFLL�� MHM¯PĻ� F¯OHP�QHQ¯� SURVD]HQ¯� YODVWQ¯FK� ]£MPĬ�� DOH� KOHG£Q¯� ÏHKRVL�� FR� PĬĻHPH�QD]YDW�NROHNWLYQ¯P�VG¯OHQ¯P�DXWHQWLÏQRVWL�. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

installation view / pohled do instalace:Gallery Weltecho, Chemnitz, (D). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Prospectinstallationwood, facade plaster, paint3OXVPLQXVQXOD�*DOOHU\��ĺLOLQD��6.�2013

The gallery space itself is both the theme and material of the Prospect exhibition. The spatial installation deals with the typical view to the gallery from outside, with the facade mass and the human perspective of the view inside. Empty space of the gallery replays the situation from its facade with hypothetical complement.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

ProspektinstalaceGĖHYR��IDV£GQ¯�RP¯WND��Q£WÝU3OXVPLQXVQXOD�*DOOHU\��ĺLOLQD2013

*DOHULMQ¯� GLVSR]LFH� MH� ]£URYHć� W«PDWHP� L� PDWHUL£OHP� Y¿VWDY\�3URVSHNW�� 3URVWRURY£� LQVWDODFH� QDNO£G£� V� W\SLFN¿P� SUĬKOHGHP� GR�JDOHULH� ]YHQϯ�� V� KPRWRX� IDV£G\� D� OLGVNRX� SHUVSHNWLYRX� SRKOHGX�GRYQLWĖ�� 3U£]GQ¿� SURVWRU� JDOHULH� SĖHKU£Y£� VLWXDFL� VY«� IDV£G\���������������������������Y�K\SRWHWLFN«P�GRSOćNX�. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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Trail of courage public space installation (educational path)ZLWK�0DWÝM�$O�$OL�DQG�3HWU�'XEUHDOL]HG�LQ�WKH�IUDPHZRUN�RI�SURMHFW�&8/%85%3V£U\�'ROQ¯�-LUÏDQ\��&=�2012

The Trail of Courage consists of thirteen stops located in accessible areas of the village, and is shaped according to the classic format of nature trails. However, individual stops do not offer a description of historical monuments or natural phenomena. They copy the local GLVSRVLWLRQ�RI�D�œW\SLFDO�XUEDQ�VDWHOOLWHŔ��7KURXJK�WKH�SXEOLFDWLRQ�RI�TXRWDWLRQV� IURP� VHOHFWHG� WH[WV� RQ� WKHRULHV� RI� FRQWHPSRUDU\�urbanism and situational analysis, they reflect the development of suburbanisation in the Czech Republic after 1989.

By its form, the trail mediates the confrontation of two virtually separate worlds – the reality of the village inhabitants and the professional urban theory.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Stezka odvahyLQVWDODFH�YH�YHĖHMQ«�SURVWRUX��QDXÏQ£�VWH]ND�V�0DWHMHP�$O�$OL�D�3HWUHP�'XEHPUHDOL]RY£QR�Y�U£PFL�SURMHNWX�&8/%85%3V£U\�'ROQ¯�-LUÏDQ\�2012

6WH]ND�RGYDK\� VHVW£Y£� ]H� WĖLQ£FWL� ]DVWDYHQ¯� ORNDOL]RYDQ¿FK� Y�EÝĻQ«�]£VWDYEÝ� REFH�� SĖLÏHPĻ� MHM¯� SRGRED� Y\FK£]¯� ]� NODVLFN«KR� IRUP£WX�QDXÏQ¿FK� VWH]HN�� -HGQRWOLY£� ]DVWDYHQ¯� YĞDN� QHSRSLVXM¯� KLVWRULFN«�SDPÝWLKRGQRVWL� ÏL� SĖ¯URGQ¯� ¼ND]\�� DOH� P¯VWQ¯� GLVSR]LFH� ŕW\SLFN«KR�PÝVWVN«KR�VDWHOLWXœ�D�SURVWĖHGQLFWY¯P�FLWDF¯�Y\EUDQ¿FK�WH[WĬ�]�WHRULH�VRXÏDVQ«KR� XUEDQLVPX� ÏL� VLWXDÏQ¯FK� DQDO¿]� UHIOHNWXM¯� Y¿YRM�VXEXUEDQL]DFH�Y�Î5�SR�URFH�������

6YRX� IRUPRX� VWH]ND� ]SURVWĖHGNRY£Y£� VWĖHW� GYRX� SUDNWLFN\�RGGÝOHQ¿FK�VYÝWĬ�Ŏ�UHDOLWX�RE\YDWHO�REFH�D�SURYR]�RGERUQ«�XUEDQLV-WLFN«�WHRULH�. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Beds and folds installationincreased floor (wood, timbers, paint),isolation foam cut-outs*DOOHU\�-HOHQ¯��3UDJXHZLWK�0DWHM�DO�$OL2012

The floor of the gellery space is now 25 cm higher. This shift of the SODWIRUP�PDNHV�LW�SRVVLEOH�WR�WKLQN�DERXW�WKH�WHFWRQLF�GHIRUPDWLRQ�and dynamic potential of our surroundings.Subsoil, current level and the superstructure are interdependent.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Koryta a sedlainstalace ]YHGQXW£�SRGODKD��GĖHYR��ODWÝ��Q£WÝU��Y¿ĖH]\�]�L]RODÏQ¯�SÝQ\*DOHULH�-HOHQ¯��3UDKDV�0DWHMHP�$O�$OL�2012

3RGODKD� JDOHULH� MH� Q\Q¯� R� ��� FP� Y\ĞЯ�� 7HQWR� SRVXQ� Q£P� G£Y£�PRĻQRVW�XYDĻRYDW�R�WHNWRQLFN«�GHIRUPDFL�D�G\QDPLFN«P�SRWHQFL£OX�QDĞHKR�RNRO¯��3RGORĻ¯��VRXÏDVQ£�¼URYHć�L�QDGVWDYED�MVRX�Y]£MHPQÝ�SURSRMHQ«�. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Reconnaissance flight installationartificial fog, carousel slide projector, aluminium framed tracing-pa-persGLSORPD�ZRUN�DW�$98���3UDJXHdimensions variable 2012

���VOLGHV�GHSLFWLQJ�WKH�PRGHO�RI�WKH�DLUVKLS��/=����+LQGHQEXUJ��E\�GHWDLOV�LQ�WKH�URWDWLRQ�RI�����GHJUHHV��'LIXVH�VPRNH�PDNHV�WKH�EHDP�of the light visible, but disables the projection on the opposite wall, where the image would normally be expected. Thus the information of images is everywhere and nowhere at the same time, concentrat-ed between the source of light and blurred surrounding. By using the IUDPHG�WUDFLQJ�SDSHU��ZKLFK�VHUYHV�DV�D�NLQG�RI�HPSW\�PHGLXP��RQH�FDQ� WUDFH� DQG� UHYHDO� WKH� LPDJH� DJDLQ�� ,PDJH� VKRZV� XS� DV� D� EDFN�projection in our hands and disappears in the moment of our next movement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

3UĬ]NXPQ¿�OHW instalaceXPÝO£� POKD�� NDUXVHO� GLD�SURMHNWRU�� KOLQ¯NHP� U£PRYDQ«� SDX]RYDF¯�SDS¯U\GLSORPRY£�SU£FH�QD�$98���3UDKDUR]PÝU\�YDULDELOQ¯�2012

��� GLDSR]LWLYĬ� PDSXM¯F¯� Y� GHWDLOHFK� PRGHO� Y]GXFKRORGL� �/=����+LQGHQEXUJ��Y�URWDFL����WL�VWXSćĬ��3URP¯W£Q¯�GR�POĻQ«KR�SURVWĖHG¯�]YLGLWHOQ¯� NXĻHO� VYÝWOD�� NWHU«� SURXG¯� SURWL� GLY£NRYL�� DOH� REUD]RY£�LQIRUPDFH� QHQ¯� SUDNWLFN\� YLGLWHOQ£�� =D� SRPRFL� ]FHOD� EÝĻQ«KR�SU£]GQ«KR� IRUP£WX� SDX]RYDF¯KR� SDS¯UX� YĞDN� PĬĻHPH� REUD]�GRKOHG£YDW��0£PH� WHG\� N� GLVSR]LFL� UR]SW¿OHQRX� LQIRUPDFL� D� MDN«VL�Y\SU£]GQÝQ«�P«GLXP��)UDJPHQW�REUD]X�Y]QLN£�MDNR�]SÝWQ£�SURMHNFH�QD� PHPEU£QÝ�� NWHURX� GUĻ¯PH� Y� UXNRX�� D� ]DQLN£� YH� FKY¯OL� QDĞHKR�GDOЯKR�SRK\EX��7YDU�Y�SURVWRUX�PĬĻHPH�WXĞLW��UR]SR]Q£YDW��DOH�QLNG\�KR�QHXYLG¯PH�Y�MHGHQ�PRPHQW�Y�FHONX��-H�SĖ¯WRPHQ�YĞXGH�D�]£URYHć�EH]�QDЯ�¼ÏDVWL�QHQ¯�QLNGH��. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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Mo-mental situation (Situation 15)installationslide projector, steam2011

One-evening situation concentrated at the yard in front of the Pavilon JDOOHU\��9LVXDO�IUDJPHQW�FUHDWHG�E\�OLQNLQJ�WZR�HOHPHQWV��WKH�SURMHFW-ed image and sloughed off steam - tail part of Hindenburg airship ZDV�UHYHDOLQJ�DQG�GLVDSHDULQJ�DW�WKH�VDPH�WLPH��0R�PHQWDO�UHPHP-brance of former phenomenon in the model situation.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Mo-mentální situace (Situace 15)instalaceGLDSURMHNWRU��S£UD2011

-HGQRYHÏHUQ¯� VLWXDFH� VH� VRXVWĖHGLOD� QD� SURVWUDQVWY¯� GYRUNX� SĖHG�*DOHUL¯� 3DYLORQ�� 3RPRF¯� SURSRMHQ¯� GYRX� HOHPHQWĬ�� SURP¯WDQ«KR�VYÝWOD� D� SRXĞWÝQ«� S£U\�� Y]QLNO� YL]X£OQ¯� IUDJPHQW�� 2FDVQ¯� Ï£VW�Y]GXFKRORGL�+LQGHQEXUJ�VH�Y�WRPWR�POKDY«P�SURVWĖHG¯�Y\MHYRYDOD�D�YH�VWHMQRX�FKY¯OL�LKQHG�PL]HOD��0R�PHQW£OQ¯�SĖLSRPHQXW¯�QÝNGHMЯKR�IHQRP«QX�Y�PRGHORY«�VLWXDFL�. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Spare month installationFotograf Gallery, Praguetape measures, flip flop photo, stools2011

6XEWOH� LQVWDOODWLRQ� LV�EDVHG�RQ� WKH� WHUP� œVSDUH�PRQWKŔ�� ŕ0HUFHGR-QLXVœ� �VSDUH�� RU� DX[LOLDU\� PRQWK�� ZDV� DSSDUDWXV� LQVHUWHG� LQWR� WKH�DQFLHQW�5RPDQ�FDOHQGDU��ZKLFK�HTXDOL]HG�WKH�DV\QFKURQRXV�SRVLWLRQ�RI�FDOHQGDU�DQG�WKH�œUHDO��VRODU�\HDU�Ŕ�

&RQVWUXFWHG� WLPH� IRUPDW� IRUFHV�XV� WR� WDNH� LQGLYLGXDO� UHFRQVLGHULQJ�attitude in the current environment. Asynchronous situation of constructed and "true" model assumes flexible movement of users in these categories. Thus we endeavor to calibrate our visual perspec-WLYH�WRZDUGV�WKH�ŕLGHDOœ�PRGHO��DW�OHDVW�IRU�D�VKRUW�WLPH�. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

1£KUDGQ¯�PÝV¯F�instalaceGalerie Fotograf, Praha VYLQRYDF¯�PHWU\��SĖHNO£SÝF¯�IRWRJUDILH��VWROLÏN\�2011

6XEWLOQ¯�LQVWDODFH�VH�RS¯U£�R�WHUP¯Q��Q£KUDGQ¯�PÝV¯F����W]Y��0HUFHGR-QLXV��Q£KUDGQ¯��QHEROL�SRPRFQ¿�PÝV¯F��E\O�YNO£G£Q�GR�VWDURĖ¯PVN«KR�NDOHQG£ĖH� MDNR� DSDU£W�� NWHU¿� Y\URYQ£YDO� DV\QFKURQQ¯� SRVWDYHQ¯�NRQVWUXRYDQ«KR�IRUP£WX�URNX�D��SUDY«KR��VOXQHÏQ¯KR�URNX��

.RQVWUXNFH�ÏDVRY«KR�IRUP£WX�Q£V�QXW¯�]DXMPRXW��Y�EÝĻQ«P�SURVWĖHG¯���UHIHUHQÏQ¯P�U£PFL���LQGLYLGX£OQ¯��SĖHKRGQRFXM¯F¯�SRVWRM��$V\QFKURQ-Q¯� VLWXDFH� NRQVWUXRYDQ«KR� D� �SUDYGLY«KR�� PRGHOX� SĖHGSRNO£G£�IOH[LELOQ¯�SRK\E�XĻLYDWHOH�Y�WÝFKWR�NDWHJRUL¯FK��'RFK£]¯�N�VLWX��DF¯P��NG\� MH� WĖHED� �XEUDW� ÏL� SĖLGDW��� DE\� VH� QDĞH� SRKOHGRY£� SHUVSHNWLYD�DOHVSRć�QD�FKY¯OL��VURYQDOD�V�LGH£OQ¯P�VWDYHP�. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Subject to alterations installationZRRG��JODVV��ZRUNLQJ�VSDFH�RI�WKH�VWXGLRdimensions: 350 x 250 x 80 cm2SHQVWXGLRV���5HVLGHQF\�DW�6WXGLR�).6(��%XGDSHVW��+82011

ŕ6XEMHFW�WR�DOWHUDWLRQVœ�GHILQHV�WKH�SRVLELOLW\�RI�IXUWKHU�FKDQJHV��,I�LW�KDSSHQV�RU�QRW��GHSHQGV�RQ�SDUWLFXODU�FLUFXPVWDQFHV��,Q�DQ\�HYHQW��we should be prepared for possible change of our routine.

8QXVHG� FRPPHUFLDO� VSDFH� ZLWK� LWV� HPSW\� XQUHDFKDEOH� VKRSSLQJ�window was the starting point of this reflection. Presented installa-tion is based on the spatial exchange and transformation of routinely neglected sites. Fragment of real architecture inbuilt inside the ZRUNLQJ�VSDFH��7KH�UHFRQVWUXFWLRQ�RI�HYHU\GD\�VLWXDWLRQ� LQ�GLIHUHQW�conditions. The visual attraction becomes accesible. Situation inside, visible from outside.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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�=PÝQD� Y\KUD]HQD�� GHILQXMH�PRĻQRVWL� GDOЯFK� ]PÝQ�� 3RNXG� VH� WDN�VWDQH�QHER�QH��]£OHĻ¯�QD�NRQNU«WQ¯FK�RNROQRVWHFK��9�NDĻG«P�SĖ¯SDGÝ�E\FKRP�PÝOL�E¿W�SĖLSUDYHQL�QD�SĖ¯SDGQRX�]PÝQX�QDЯ�UXWLQ\�

1HY\XĻLW¿� REFKRGQ¯� SURVWRU� V� SU£]GQRX� Y¿ORKRX� E\O� Y¿FKR]¯P�ERGHP�WÝFKWR�¼YDK��8QLN£WQ¯�HVWHWLFN£�NYDOLWD�D�W«PÝĖ�SRFLW�SU£]GQD�XYQLWĖ�� 9¿VOHGQ£� LQVWDODFH� MH� ]DORĻHQD� QD� SURVWRURY«� Y¿PÝQÝ� D�WUDQVIRUPDFL� VW£OH� RSRP¯MHQ¿FK� ORNDOLW�� )UDJPHQW� DUFKLWHNWXU\�]DEXGRY£Q�GR�SUDFRYQ¯KR�SURVWRUX��5HNRQVWUXNFH�NDĻGRGHQQ¯�VLWX��DFH�Y�UR]G¯OQ¿FK�SRGP¯QN£FK��9L]X£OQ¯�SĖLWDĻOLYRVW�VH�VW£Y£�GRVWXSQRX�6LWXDFH�XYQLWĖ�YLGLWHOQ£�]YHQϯ�. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Subject to alterations installationZRRG��JODVV��ZRUNLQJ�VSDFH�RI�WKH�VWXGLRdimensions: 350 x 250 x 80 cm2SHQVWXGLRV���5HVLGHQF\�DW�6WXGLR�).6(��%XGDSHVW��+82011

ŕ6XEMHFW�WR�DOWHUDWLRQVœ�GHILQHV�WKH�SRVLELOLW\�RI�IXUWKHU�FKDQJHV��,I�LW�KDSSHQV�RU�QRW��GHSHQGV�RQ�SDUWLFXODU�FLUFXPVWDQFHV��,Q�DQ\�HYHQW��we should be prepared for possible change of our routine.

8QXVHG� FRPPHUFLDO� VSDFH� ZLWK� LWV� HPSW\� XQUHDFKDEOH� VKRSSLQJ�window was the starting point of this reflection. Presented installa-tion is based on the spatial exchange and transformation of routinely neglected sites. Fragment of real architecture inbuilt inside the ZRUNLQJ�VSDFH��7KH�UHFRQVWUXFWLRQ�RI�HYHU\GD\�VLWXDWLRQ� LQ�GLIHUHQW�conditions. The visual attraction becomes accesible. Situation inside, visible from outside.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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1HY\XĻLW¿� REFKRGQ¯� SURVWRU� V� SU£]GQRX� Y¿ORKRX� E\O� Y¿FKR]¯P�ERGHP�WÝFKWR�¼YDK��8QLN£WQ¯�HVWHWLFN£�NYDOLWD�D�W«PÝĖ�SRFLW�SU£]GQD�XYQLWĖ�� 9¿VOHGQ£� LQVWDODFH� MH� ]DORĻHQD� QD� SURVWRURY«� Y¿PÝQÝ� D�WUDQVIRUPDFL� VW£OH� RSRP¯MHQ¿FK� ORNDOLW�� )UDJPHQW� DUFKLWHNWXU\�]DEXGRY£Q�GR�SUDFRYQ¯KR�SURVWRUX��5HNRQVWUXNFH�NDĻGRGHQQ¯�VLWX��DFH�Y�UR]G¯OQ¿FK�SRGP¯QN£FK��9L]X£OQ¯�SĖLWDĻOLYRVW�VH�VW£Y£�GRVWXSQRX�6LWXDFH�XYQLWĖ�YLGLWHOQ£�]YHQϯ�. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Trioobject / implement65 cm x 65 cm x 850 cm, rubber(FKRHV� RI� HQWURS\� H[KLELWLRQ�� &ULWLFV� *DOOHU\�� 3UDJXH�� :LWK� 0DWHM�Al-Ali (exhibiton togther with Petr Dub). 2011

,PSOHPHQWHG� FRQVWUXFWLRQ� HOHPHQW�� UHSHDWLQJ� WKH� VWUXFWXUH� RI� DQ�original crossbeams, made out of inappropriate material is not able to hold itself. Spatial disfunction.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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So I am playing it HD video, 02’20’’(object: cardboard boxes, rubber rope)2011

Videoshot of the object in the mechanical surrounding. The cluster of cardboard boxes girded with rubber rope is being tested in the mechanical slider at the paper recycling site.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Tak já to pouštím HD video, 02’20’’�REMHNW��NDUWRQRY«�NUDELFH��JXPRODQR�2011

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Tomáš Moravec / CV

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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2014 Fatal jump from a stool – Trafó gallery, Budapest (H)�����$ERXW�WKH�FKDLU�Ŏ��WK�,QWHUQDWLRQDO�%LHQQLDO�RI�SKRWRJUDSK\�DQG�YLVXDO�DUWV���/LªJH��%�2014 Zone in motion – DOX, Centre for contemporary art, Prague (CZ)�����3RLVRQ�*UHHQ�Ŏ�&]HFK�&HQWHU�*DOOHU\��1HZ�<RUN��86$������1RQ�VXEMHFWLYH�FLQHPD�Ŏ�*DOOHU\�7,&��%UQR��&=������8VH�\RXU�LOOXVLRQ�Ŏ�EE�����6SDFH�IRU�&RQWHPSRUDU\�$UW��/LQ]��$������*UDGXDWHV�$98�Ŏ�1DWLRQDO�*DOOHU\�Ŏ�9HOHWUĻQ¯�SDODFH��3UDJXH��&=�������WK�=O¯Q�\RXWK�VDORQ�Ŏ�5HJLRQDO�*DOOHU\�RI�)LQH�$UWV�LQ�=O¯Q��&=�2011 Happiness – 4+4 days in motion festival, Prague (CZ)�����)LQDOO\�WRJHWKHU�Ŏ�$UPDWXUND�JDOOHU\���VW¯�QDG�/DEHP��&=�2011 Placcc festival – Budapest (H)���������������Ŏ�*DOHULH��Ŏ�3UDJXH�TXDGULHQQDOH��3UDJXH��&=������6\QGURP�SRYODFHQMD�Ŏ�6DORQ�����1LĞ��65%�2011 Raum:selbst – Brno house of arts, Brno (CZ)2010 The Reply – Bell Street project space, Vienna (A)�����6FKHUQHVFKQLWWH�����'HV�.DLVHUV�QHXH�.OHLGHU�Ŏ�2EHUKDIHQ�.DQWLQH��+DPEXUJ��'������([LW�D�D�2����.XQVWUDXP�.UHX]EHUJ�%HWKDQLHQ��%HUOLQ��'������7ULDO�WUDLO�Ŏ�$WHOLHUKDXV�GHU�$NDGHPLH�GHU�ELOGHQGHQ�.¾QVWH��9LHQQD��$������7HOHVFRSLF�VWXGLR�Ŏ�9£FODY�ĝS£OD�JDOOHU\��3UDJXH��&=������([LW������Ŏ�$UPDWXUND�JDOOHU\���VW¯�QDG�/DEHP��&=�2009 Sculptures in the streets - Brno Art Open, Brno (CZ)�����-LQGULFK�&KDOXSHFN¿�DZDUG��)LQDO������Ŏ�'ĬP�3£QX�]�.XQĞW£WX��%UQR��&=������������Ŏ�8�%¯O«KR�MHGQRURĻFH�JDOOHU\��.ODWRY\��&=������-XVW�EHWZHHQ�XV�Ŏ�.DUO¯Q�6WXGLRV��3UDJXH��&=�

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2013 Final presentation – Studios Das Weisse Haus, Vienna (A)�����6SDFH�IRU��DUW��Ŏ�0RUDYLDQ�*DOOHU\��%UQR��&=�2013 Supper Club (2): The Hybrid proposition – TBA21 Augarten Contemporary, Vienna, (A)�����$XWKRUőV�YLGHR�VFUHHQLQJ�Ŏ�ĝNROVN£����&RPXQLFDWLRQ�VSDFH��3UDJXH��&=������2SHQVWXGLRV�Ŏ�7ULQDJOH�$UWV�$VVRFLDWLRQ��1HZ�<RUN��86$�2013 Trail of courage presentation – Offcity Architects, Pradubice (CZ)�����7UDLO�RI�FRXUDJH�SUHVHQWDWLRQ�Ŏ�0HHWIDFWRU\��3UDJXH��&=�2012 Trail of courage presentation – PAF, Olomouc (CZ)�����80$��'LDORJV�Ŏ�ZRUNVKRS�,V�PHGLXP�WKH�PHVVDJH"�Ŏ�3U£GHOQD�%RKQLFH��3UDJXH��&=������&8/%85%�SURMHFW�PHHWLQJ�Ŏ�$UFKLWHNWXU�=HQWUXP�:LHQ��9LHQQD��$�2012 Dividing - Author’s presentation, Olomouc (CZ)�����3HFKD�.XFKD�QLJKW�Ŏ�3LOVHQ��&=�2011 Visual manual – DOX, Prague (CZ)�����5HZLQG�YRO����Ŏ�0RUDYLDQ�JDOOHU\��%UQR��&=������3HFKD�.XFKD�QLJKW�Ŏ�6WDQLFD�=£UHÏLH��ĺLOLQD��6.������9LGHRDUW�PDWFK�YRO���Ŏ�%DQVN£�%\VWULFD���6.������,QWHUQDWLRQDO�ILOP�IHVWLYDO�Ŏ�%UDWLVODYD��6.������1R�PDQőV�ODQG���2QH�QLJKW�SXEOLF�VSDFH�VFUHHQLQJ�HYHQW�Ŏ�3LOVHQ��&=�

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