{"id":4065,"date":"2018-04-30T14:29:29","date_gmt":"2018-04-30T14:29:29","guid":{"rendered":"http:\/\/www.artinbox.cz\/?p=4065"},"modified":"2018-12-30T16:37:28","modified_gmt":"2018-12-30T16:37:28","slug":"lubos-plny-zachovale-ostatky-preserved-remains-3-5-21-5-2018","status":"publish","type":"post","link":"https:\/\/www.artinbox.cz\/?p=4065","title":{"rendered":"Lubo\u0161 Pln\u00fd"},"content":{"rendered":"

Lubo\u0161 Pln\u00fd: Zachoval\u00e9 ostatky \/ Preserved Remains<\/strong>
\n (3. 5. – 28. 5. 2018)<\/strong><\/p>\n

kur\u00e1torka \/ curated by: Nadia Rovderov\u00e1<\/strong><\/p>\n

technick\u00e1 spolupr\u00e1ce \/ technical cooperation: Lucie \u010cern\u00e1, Anton\u00edn Vr\u0148\u00e1k,<\/p>\n

Terezie Zem\u00e1nkov\u00e1, Dana Michlov\u00e1 \u2013 r\u00e1mov\u00e1n\u00ed, Karel Urban – p\u0159eklady, Ksenyie Chudarova<\/div>\n

technick\u00e1 spolupr\u00e1ce \/ technical cooperation: Lucie \u010cern\u00e1, Anton\u00edn Vr\u0148\u00e1k,\u00a0Terezie Zem\u00e1nkov\u00e1, Dana Michlov\u00e1 \u2013 r\u00e1mov\u00e1n\u00ed, Ksenyie Chudarova<\/p>\n

V\u00fdstavu podpo\u0159ili \/ exhibition is supported by: Magist\u00e1t hlavn\u00edho m\u011bsta Prahy a St\u00e1tn\u00ed fond kultury MK\u010cR<\/p>\n

Ud\u00e1lost na FB \/ FB event: https:\/\/www.facebook.com\/events\/233692903846791\/<\/a><\/p>\n

Fotogalerie (postupn\u011b dopl\u0148ov\u00e1no) \/ Photogallery: https:\/\/www.facebook.com\/pg\/ArtinboxGallery\/photos\/?tab=album&album_id=1865618930177453<\/a><\/p>\n

V\u00fdstava kreseb, maleb a kol\u00e1\u017e\u00ed z po\u010d\u00e1tku 90 let minul\u00e9ho stolet\u00ed. \/ <\/strong>Exhibition of drawings, paintings and collages from the early 90s of the last century.<\/span><\/p>\n

Lubo\u0161 Pln\u00fd tentokr\u00e1t v\u00a0\u010derno-humorn\u00e9 meditaci na t\u00e9ma v\u011b\u010dn\u00e9ho lidsk\u00e9ho \u00fad\u011blu konfrontace s fyzickou bolest\u00ed a smrt\u00ed prost\u0159ednictv\u00edm souboru doposud m\u00e9n\u011b zn\u00e1m\u00e9 oblasti autorovy tvorby – kreseb, maleb a kol\u00e1\u017e\u00ed z po\u010d\u00e1tku 90 let minul\u00e9ho stolet\u00ed.\u00a0 V\u00fdstavu dopl\u0148uje s\u00e9rie fotografi\u00ed z\u00a0cyklu Se\u0161\u00edv\u00e1n\u00ed, kdy v\u00a0r. 2003 autor zkou\u0161el limity vlastn\u00ed bolesti a podrobil se se\u0161it\u00ed v\u00a0r\u016fzn\u00fdch \u010d\u00e1stech t\u011bla. <\/strong><\/p>\n

<\/span>Lubo\u0161 Pln\u00fd –\u00a0 this time in a black-humorous meditation on the theme of eternal human destiny of confrontation with physical pain and death through a collection of previously unknown author’s artwork – drawings, paintings and collages from the early 90s of the last century. The exhibition includes a series of photographs from the Stitching series. In 2003 author tested the limits of his own pain and underwent stitching in different parts of his body.<\/em><\/strong><\/p>\n

<\/em><\/strong>\"\"<\/p>\n

\"Lubo\u0161<\/a>

Lubo\u0161 Pln\u00fd: z cyklu Zachoval\u00e9 ostatky, 1992 \/ From Preserved Remains series, 1992<\/p><\/div>\n

\"Lubo\u0161<\/a>

Lubo\u0161 Pln\u00fd: z cyklu Zachoval\u00e9 ostatky, 1992 \/ From Preserved Remains series, 1992<\/p><\/div>\n

\"Lubo\u0161<\/a>

Lubo\u0161 Pln\u00fd: z cyklu Zachoval\u00e9 ostatky, 1992 \/ From Preserved Remains series, 1992<\/p><\/div>\n

Artinbox Gallery ve spolupr\u00e1ci s\u00a0artbrut.cz srde\u010dn\u011b zve na vernis\u00e1\u017e v\u00fdstavy \/ Artinbox Gallery in cooperation with artbrut.cz cordially invites you to opening of the exhibition:<\/em><\/p>\n

Lubo\u0161 Pln\u00fd<\/strong><\/p>\n

Zachoval\u00e9 ostatky \/ Preserved Remains<\/strong>
\n(3. 5. – 21. 5. 2018)<\/p>\n

vernis\u00e1\u017e \/ opening:<\/em> 3. 5. 2018, 18 h.<\/strong> \/ 6 p.m.<\/em><\/strong><\/p>\n

Ud\u00e1lost na FB \/ FB event: https:\/\/www.facebook.com\/events\/233692903846791\/<\/a><\/p>\n

Postupn\u011b dopl\u0148ov\u00e1na galerie fotografi\u00ed z akce: https:\/\/www.facebook.com\/pg\/ArtinboxGallery\/photos\/?tab=album&album_id=1865618930177453<\/a><\/p>\n

V\u00fdstava kreseb, maleb a kol\u00e1\u017e\u00ed z po\u010d\u00e1tku 90 let minul\u00e9ho stolet\u00ed. \/
\nExhibition of drawings, paintings and collages from the early 90s of the last century.<\/p>\n

kur\u00e1torka \/ curated by: Nadia Rovderov\u00e1<\/p>\n

V\u00fdstavu podpo\u0159ili \/ exhibition is supported by:<\/p>\n

Magist\u00e1t hlavn\u00edho m\u011bsta Prahy a St\u00e1tn\u00ed fond kultury MK\u010cR
\n\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026.<\/strong><\/p>\n

<\/strong><\/p>\n

Lubo\u0161 Pln\u00fd: Zachoval\u00e9 ostatky \/\u00a0Preserved Remains<\/em><\/strong><\/p>\n

(3. 5. – 28. 5. 2018)
\nkur\u00e1torka \/\u00a0curated by: Nadia Rovderov\u00e1<\/em><\/strong><\/p>\n

V\u00fdstava kreseb, maleb a kol\u00e1\u017e\u00ed z po\u010d\u00e1tku 90 let minul\u00e9ho stolet\u00ed. <\/strong><\/p>\n

Lubo\u0161 Pln\u00fd tentokr\u00e1t v\u00a0\u010derno-humorn\u00e9 meditaci na t\u00e9ma v\u011b\u010dn\u00e9ho lidsk\u00e9ho \u00fad\u011blu konfrontace s fyzickou bolest\u00ed a smrt\u00ed prost\u0159ednictv\u00edm souboru doposud m\u00e9n\u011b zn\u00e1m\u00e9 oblasti autorovy tvorby – <\/strong>kreseb, maleb a kol\u00e1\u017e\u00ed z po\u010d\u00e1tku 90. let minul\u00e9ho stolet\u00ed.\u00a0\u00a0V\u00fdstavu dopl\u0148uje s\u00e9rie fotografi\u00ed z\u00a0cyklu <\/strong>Se\u0161\u00edv\u00e1n\u00ed, kdy v\u00a0roce 2003 autor zkou\u0161el limity vlastn\u00ed bolesti a podrobil se se\u0161it\u00ed v\u00a0r\u016fzn\u00fdch \u010d\u00e1stech t\u011bla.<\/strong><\/p>\n

<\/strong><\/p>\n

Exhibition of drawings, paintings and collages from the early 90s of the last century.<\/em><\/strong>
\n<\/strong>Lubo\u0161 Pln\u00fd –\u00a0\u00a0this time in a black-humorous meditation on the theme of eternal human destiny of confrontation with physical pain and death through a collection of previously unknown author’s artwork – drawings, paintings and collages from the early 90s of the last century. The exhibition includes a series of photographs from the Stitching series. In 2003 author tested the limits of his own pain and underwent stitching in different parts of his body.<\/em><\/strong> <\/em><\/p>\n

<\/em><\/p>\n

<\/em><\/p>\n

\u201eUm\u011bn\u00ed je pro mn\u011b auto-terapie, a to je pro m\u011b p\u0159i tvorb\u011b v\u017edy prioritn\u00ed. Jsou to m\u00e9 den\u00edkov\u00e9 z\u00e1znamy, zaznamen\u00e1v\u00e1m i \u010das, kter\u00fd tvorb\u011b v\u011bnuji, zaznamen\u00e1v\u00e1m du\u0161evn\u00ed i somatick\u00e9 pochody, pobyty v nemocnici apod. Kdy\u017e v\u00edm, \u017ee z nep\u0159\u00edjemn\u00e9ho z\u00e1\u017eitku vznikne um\u011bn\u00ed, jako bych sni\u017eoval riziko, kter\u00e9 pro m\u011b z dan\u00e9 situace plyne. Um\u011bleck\u00fd z\u00e1znam p\u0159ehlu\u0161\u00ed v\u00e1\u017enost situace.\u201c<\/em><\/p>\n

Lubo\u0161 Pln\u00fd<\/em><\/p>\n

<\/em><\/p>\n

Um\u011bn\u00edmilovn\u00e9 \u010desk\u00e9 ve\u0159ejnosti bylo jm\u00e9no Lubo\u0161e Pln\u00e9ho (*1961) a\u017e do l\u00e9ta roku 2017 t\u00e9m\u011b\u0159 nezn\u00e1m\u00e9. P\u0159esto se o n\u011bm u\u017e dlouho mluvilo jako o zjeven\u00ed ve vod\u00e1ch sou\u010dasn\u00e9 v\u00fdtvarn\u00e9 tvorby \u2013 ov\u0161em jen v\u00a0\u00fazk\u00e9m kruhu zasv\u011bcen\u00fdch. Introvertn\u00ed um\u011blec, n\u011bkdy mo\u017en\u00e1 nepr\u00e1vem \u0159azen\u00fd mezi autory art brut, \u0161okuje a fascinuje sv\u00fdm neot\u0159el\u00fdm pojet\u00edm tvorby, bezelstnou brut\u00e1ln\u00ed up\u0159\u00edmnost\u00ed, s\u00a0jakou se skrze sv\u00e1 d\u00edla um\u00ed pod\u011blit o zcela z\u00e1sadn\u00ed i \u00fapln\u011b trivi\u00e1ln\u00ed oblasti \u017eivota, i o svou \u017eivotn\u00ed filozofii. Zrozen\u00ed, smrt, sex, sp\u00e1nek, nemoc, st\u00e1rnut\u00ed, hranice bolesti, kvalita a mno\u017estv\u00ed vati\u010dek, kter\u00e9 se mu v\u00a0pr\u016fb\u011bhu dan\u00e9ho obdob\u00ed zachycuj\u00ed v\u00a0pup\u00edku – to v\u0161e a mnoho dal\u0161\u00edho je obsahem jeho d\u011bl.<\/p>\n

\u00dasp\u011bch<\/strong><\/p>\n

<\/strong><\/p>\n

Lubo\u0161e Pln\u00e9ho proslavily jeho detailn\u00ed den\u00edkov\u00e9 anatomick\u00e9 kresby.\u00a0\u00a0Galerist\u00e9 v\u00a0Pa\u0159\u00ed\u017ei, New Yorku \u010di Tokiu se o n\u011bj zaj\u00edmaj\u00ed u\u017e patn\u00e1ct let. Jeho d\u00edla jsou zastoupena ve slavn\u00fdch sv\u011btov\u00fdch sb\u00edrk\u00e1ch um\u011bn\u00ed: Centre Pompidou Paris, abcd Bruno Decharma, Fran\u00e7ois Pinaulta, Antoina de Galberta\u2026 P\u0159esto v\u00a0\u010cesk\u00e9 republice vystavoval Lubo\u0161 Pln\u00fd jenom sporadicky, a i to p\u0159ev\u00e1\u017en\u011b jen v r\u00e1mci skupinov\u00fdch tematick\u00fdch v\u00fdstav v\u00a0Dom\u011b u Kamenn\u00e9ho zvonu, v DOXu, v Museu Montanelli, \u010di v Artinbox Gallery v Praze. Samostatn\u00e9 v\u00fdstavy m\u011bl jen dv\u011b \u2013 v\u00a0roce 2002 v\u00a0galerii Millenium a na ja\u0159e 2017 v\u00a0Artinbox Gallery. V\u0161e se zm\u011bnilo v\u00a0l\u00e9t\u011b 2017, kdy Lubo\u0161 za\u017eil fenomen\u00e1ln\u00ed \u00fasp\u011bch na 57. Bien\u00e1le sou\u010dasn\u00e9ho um\u011bn\u00ed v\u00a0Ben\u00e1tk\u00e1ch. Do hlavn\u00ed v\u00fdstavn\u00ed sekce si ho jako jedin\u00e9ho \u010cecha vybrala francouzsk\u00e1 kur\u00e1torka Christine Macel. Lubo\u0161ova d\u00edla zde zaz\u00e1\u0159ila.\u00a0\u00a0ARTSY – americk\u00fd server o sou\u010dasn\u00e9m um\u011bn\u00ed ho zmi\u0148oval mezi \u010dtrn\u00e1cti pozoruhodn\u00fdmi autory ze sto dvaceti, kte\u0159\u00ed v\u00a0hlavn\u00ed sekci vystavovali. Francouzsk\u00fd den\u00edk Le Monde ho uvedl jako jednoho ze t\u0159\u00ed nejzaj\u00edmav\u011bj\u0161\u00edch.\u00a0\u00a0Od t\u00e9 doby Lubo\u0161ova hv\u011bzda stoup\u00e1 a z\u00e1jem o n\u011bj te\u010f u\u017e projevuj\u00ed i v\u00a0jeho rodn\u00e9 zemi. Koncem roku 2017 mu Centrum pro sou\u010dasn\u00e9 um\u011bn\u00ed DOX uspo\u0159\u00e1dalo prozat\u00edm nejv\u011bt\u0161\u00ed a nejucelen\u011bj\u0161\u00ed v\u00fdstavu VIVA Lubo\u0161 Pln\u00fd!, kter\u00e1 byla koncipov\u00e1na jako pocta jeho \u00fasp\u011bchu na Bien\u00e1le v\u00a0Ben\u00e1tk\u00e1ch. Tato v\u00fdstava poprv\u00e9 obs\u00e1hla skoro v\u0161echny oblasti autorovy ko\u0161at\u00e9 tvorby \u2013 byly zde k vid\u011bn\u00ed n\u011bkter\u00e9 z nejd\u016fle\u017eit\u011bj\u0161\u00edch anatomick\u00fdch kreseb, pak \u010dasosb\u011brn\u00e9 konceptu\u00e1ln\u00ed projekty, kol\u00e1\u017ee, asambl\u00e1\u017ee, sochy, objekty i fotografie. Jedna \u010d\u00e1st tvorby zde ov\u0161em chyb\u011bla a tu bychom r\u00e1di p\u0159edstavili na v\u00fdstav\u011b Zachoval\u00e9 ostatky<\/strong>. Jedn\u00e1 se se obs\u00e1hl\u00fd soubor kreseb maleb, asambl\u00e1\u017e\u00ed a kol\u00e1\u017e\u00ed z\u00a0po\u010d\u00e1tku 90 let, kter\u00e1 p\u016fvodn\u011b obsahovala p\u0159ibli\u017en\u011b t\u0159i sta d\u011bl, z\u00a0kter\u00fdch vystav\u00edme v\u00fdb\u011br asi pades\u00e1ti. T\u00e9matem je v\u011b\u010dn\u00fd lidsk\u00fd \u00fad\u011bl konfrontace s bolest\u00ed a smrt\u00ed –\u00a0\u00a0v\u00a0autorov\u011b pod\u00e1n\u00ed i s\u00a0typick\u00fdmi prvky jeho \u010dern\u00e9ho humoru. Nechyb\u00ed zde rovn\u011b\u017e symboly sexu\u00e1ln\u00ed, \u010di n\u00e1bo\u017eensk\u00e9 a politick\u00e9 \u2013 evidentn\u00ed je fascinace znakem a p\u00edsmem, jak\u00fd u n\u00e1s zn\u00e1me t\u0159eba u Eduarda Ov\u010d\u00e1\u010dka \u010di Ji\u0159\u00edho Balcara.<\/p>\n

\u010cas<\/strong><\/p>\n

\u201eV\u017edy mn\u011b zaj\u00edmalo plynut\u00ed \u010dasu a ch\u00e1tr\u00e1n\u00ed. D\u011blal jsem r\u016fzn\u00e9 pokusy, zaj\u00edmalo mn\u011b zanechat n\u011bkde stopu a po letech zji\u0161\u0165ovat, jak se m\u011bn\u00ed \u010di nem\u011bn\u00ed.\u201c<\/em><\/p>\n

Lubo\u0161 Pln\u00fd<\/em><\/p>\n

<\/em><\/p>\n

<\/em>Plynut\u00ed \u010dasu Lubo\u0161e Pln\u00e9ho fascinuje odjak\u017eiva.\u00a0Faktor \u010dasu je pro n\u011bj z\u00e1sadn\u00ed.\u00a0U sv\u00fdch d\u011bl p\u0159esn\u011b ozna\u010duje za\u010d\u00e1tek a konec, ale i ka\u017edou pauzu v\u00a0tvorb\u011b – den, hodinu i minutu. \u010cas mimochodem nepo\u010d\u00edt\u00e1 na roky, n\u00fdbr\u017e na dny \u2013\u00a0\u017eivota b\u011bh m\u011b\u0159\u00ed po\u010dtem pro\u017eit\u00fdch dn\u00ed.\u00a0Sv\u00e1 d\u00edla v\u017edy ozna\u010d\u00ed \u010d\u00edslem, kolik dn\u00ed mu bylo, kdy\u017e pr\u00e1ci zapo\u010dal a pot\u00e9 \u010d\u00edslem, kolik dn\u00ed byl na sv\u011bt\u011b v\u00a0den, kdy d\u00edlo dokon\u010dil.<\/p>\n

H\u0159bitovy<\/strong><\/p>\n

Nejlep\u0161\u00edm m\u00edstem k\u00a0meditaci o pom\u00edjivosti lidsk\u00e9ho byt\u00ed jsou h\u0159bitovy. Tam za\u010d\u00e1tkem 90. let Lubo\u0161 Pln\u00fd tr\u00e1vil spoustu \u010dasu, mimo klasick\u00fdch h\u0159bitov\u016f ho inspirovaly ty \u017eidovsk\u00e9, \u010di sudeton\u011bmeck\u00e9, \u010dasto zni\u010den\u00e9, opu\u0161t\u011bn\u00e9, neope\u010dov\u00e1van\u00e9. Zde zkoumal estetiku n\u00e1hrobn\u00edch kamen\u016f a tak vznikl n\u00e1pad vyu\u017e\u00edt fragmenty otisk\u016f v tvorb\u011b. P\u0159\u00edmo na m\u00edst\u011b za pomoci klovatiny (arabsk\u00e9 gumy) po\u0159\u00eddil negativn\u00ed otisk\u00a0reli\u00e9fn\u00edch n\u00e1hrobk\u016f na pap\u00edr. Kresby doma dokon\u010doval za pou\u017eit\u00ed akrylov\u00fdch \u010di temperov\u00fdch barev, tu\u0161e, tu\u017eky, sprej\u016f, \u0161ablon na p\u00edsma\u2026 Napnut\u00e9 na desce je pak osprchoval a z\u00edskal tak kresbu dopln\u011bnou o negativn\u00ed otisk n\u00e1pis\u016f a reli\u00e9f\u016f n\u00e1hrobn\u00edch kamen\u016f. Autor podot\u00fdk\u00e1, \u017ee podobn\u00e1 \u010dinnost by dnes u\u017e pravd\u011bpodobn\u011b mo\u017en\u00e1 nebyla. P\u0159ed a t\u011bsn\u011b po revoluci se o h\u0159bitovy je\u0161t\u011b nepe\u010dovalo, nebyly oploceny, nikoho nezaj\u00edmal um\u011blec pot\u00edraj\u00edc\u00ed n\u00e1hrobky klovatinou s\u00a0pap\u00edry rozlo\u017een\u00fdmi kolem, aby otisky oschly. (Klovatinu posl\u00e9ze zmyl d\u00e9\u0161\u0165, tak\u017ee \u017e\u00e1dnou \u00fajmu n\u00e1hrobk\u016fm autor nep\u016fsobil.) Svou fascinaci h\u0159bitovn\u00ed t\u00e9matikou dot\u00e1hl Lubo\u0161 Pln\u00fd do dokonalosti t\u00edm, \u017ee v\u00a0roce 2004 absolvoval hrobnick\u00fd kurz a je tud\u00ed\u017e certifikovan\u00fd vykon\u00e1vat tuto profesi v\u00a0cel\u00e9 Evropsk\u00e9 unii. Jako jeden z\u00a0d\u016fvod\u016f rovn\u011b\u017e uv\u00e1d\u00ed, \u017ee pot\u00e9, co se mu povedlo z\u00edskat ofici\u00e1ln\u00ed, o t\u00e9 doby neexistuj\u00edc\u00ed titul \u201eakademick\u00fd model\u201c na AVU v\u00a0Praze, l\u00e1kala ho p\u0159edstava vlastnictv\u00ed dal\u0161\u00edho certifik\u00e1tu.<\/p>\n

Se\u0161\u00edv\u00e1n\u00ed<\/strong><\/p>\n

V\u00a0roce 2003 se Lubo\u0161 Pln\u00fd rozhodl pro jinou osobn\u00ed zkou\u0161ku \u2013 cht\u011bl si vyzkou\u0161et limity vlastn\u00ed bolesti a podrobit se se\u0161it\u00ed v r\u016fzn\u00fdch \u010d\u00e1stech t\u011bla. Projekt nem\u011bl v\u00a0\u00famyslu prezentovat ve\u0159ejn\u011b, ale kdy\u017e u\u017e se k\u00a0n\u011bmu odhodlal, bylo mu l\u00edto si nepo\u0159\u00eddit kvalitn\u00ed fotodokumentaci s\u00a0t\u00edm, \u017ee vznikl\u00fd materi\u00e1l mo\u017en\u00e1 \u010dasem n\u011bjak zpracuje. Na projekt se za\u010dal d\u016fkladn\u011b p\u0159ipravovat: upravil stravu na \u010dist\u011b vegetari\u00e1nskou, denn\u011b ud\u011blal dva tis\u00edce klik\u016f, zdokonaloval sv\u00e9 fyzick\u00e9 dispozice, aby dan\u00fd \u00fakol zvl\u00e1dl. Pot\u00e9 s\u00a0n\u00e1kresem \u0161el do ateli\u00e9ru fotografa Vladim\u00edra \u0160t\u011bp\u00e1nsk\u00e9ho, si bez anestezie \u0161evcovskou jehlou a nit\u00ed pro\u0161il obli\u010dej. Lubo\u0161\u016fv kamar\u00e1d, kter\u00e9ho sebou p\u0159ivedl, mu pak pomohl se\u0161\u00edt i ruce tak, aby c\u00edtil intenzitu sebenepatrn\u011bj\u0161\u00edho pohybu hlavy po cel\u00e9m t\u011ble. Lubo\u0161 byl fotografov\u00e1n p\u0159ed, b\u011bhem a po akci.\u00a0\u010cern\u00fd humor a hrav\u00e9 sado-maso lad\u011bn\u00ed pak autor p\u0159enesl i do inscenovan\u00fdch fotografick\u00fdch autoportr\u00e9t\u016f, kter\u00e9 si nechal po\u0159\u00eddit ve fotoateli\u00e9ru u Franti\u0161ka Va\u0148\u00e1ska. Siln\u00fd erotick\u00fd n\u00e1boj m\u00e1 nap\u0159\u00edklad autoportr\u00e9t s\u00a0jahodou, kde si autor dlouhou jehlic\u00ed prop\u00edchl tv\u00e1\u0159e, zat\u00edmco mu v\u00a0\u00fastech \u2013 nap\u00edchnut\u00e1 na jehle \u2013 z\u00e1\u0159\u00ed kr\u00e1sn\u00e1 \u010derven\u00e1 jahoda.<\/p>\n

Bolest<\/strong><\/p>\n

<\/em><\/p>\n

\u201e Bolest nevyhled\u00e1v\u00e1m. Byla to jen osobn\u00ed zkou\u0161ka, pro m\u011b moc d\u016fle\u017eit\u00e1, ale nechci to u\u017e opakovat. P\u016fvodn\u011b jsem to v\u016fbec nepova\u017eoval za um\u011bn\u00ed, jen jsem si cht\u011bl po\u0159\u00eddit fotografick\u00fd z\u00e1znam. T\u0159eba mi to pomohlo \u010d\u00e1ste\u010dn\u011b pochopit to, co pro\u017e\u00edvala b\u00fdval\u00e1 man\u017eelka Lucie u porodu na\u0161eho syna Vincenta. \u201e<\/em><\/p>\n

<\/em><\/p>\n

Lubo\u0161 Pln\u00fd<\/em><\/p>\n

Ub\u011bhlo t\u0159in\u00e1ct let.\u00a0\u00a0Mezit\u00edm Lubo\u0161ovi um\u0159eli oba rodi\u010de, narodil se mu syn Vincent, m\u011bl svatbu s\u00a0partnerkou Luci\u00ed, potkal sv\u00e9ho francouzsk\u00e9ho galeristu Bruna Decharma, za jeho pomoci nastartoval svou mezin\u00e1rodn\u00ed um\u011bleckou kari\u00e9ru natolik, \u017ee byl schopn\u00fd u\u017eivit sebe i rodinu, rozvedl se\u2026\u00a0\u201ePo letech mn\u011b napadlo nechat se op\u011bt vyfotografovat ve stejn\u00fdch pozic\u00edch, a porovnat tak stopy \u010dasu na m\u00e9m t\u011ble.\u201c <\/em>Tak se v\u00a0roce 2016 vr\u00e1til k\u00a0bromost\u0159\u00edbrn\u00fdm \u010dernob\u00edl\u00fdm fotografi\u00edm z\u00a0roku 2003 a nechal se op\u011bt vyfotografovat ve stejn\u00fdch pozic\u00edch \u2013 tentokr\u00e1t barevn\u011b a digit\u00e1ln\u00edm fotoapar\u00e1tem. Se\u0161\u00edv\u00e1n\u00ed sv\u00e9ho t\u011bla u\u017e nepl\u00e1noval, se\u0161il v\u0161ak dohromady r\u016fzn\u00fdmi zp\u016fsoby sv\u016fj autoportr\u00e9t z\u00a0roku 2003 a 2016. V\u00fdsledn\u00e9 kol\u00e1\u017ee a asambl\u00e1\u017ee odr\u00e1\u017eej\u00ed t\u0159in\u00e1ctiletou prom\u011bnu um\u011blce, a stejn\u011b tak i posun m\u00e9dia fotografie od \u010dernob\u00edl\u00e9 analogov\u00e9 k\u00a0barevn\u00e9 digit\u00e1ln\u00ed.<\/p>\n

Smrt rodi\u010d\u016f, kte\u0159\u00ed ode\u0161li rychle za sebou v\u00a0rozmez\u00ed jednoho m\u011bs\u00edce, ho siln\u011b zas\u00e1hla. Vyrovn\u00e1val se s\u00a0n\u00ed tak\u00e9 v\u00a0tv\u016fr\u010d\u00ed meditaci. Matce i otci v\u011bnoval kresbu, do kter\u00e9 zasadil laboratorn\u00ed misku s\u00a0jejich popelem a kolem pe\u010dliv\u011b vepsal tis\u00edce datum\u016f – v\u0161echny dny jejich \u017eivota.<\/p>\n

Nadia Rovderov\u00e1, Praha 2018<\/p>\n

Curriculum:<\/em><\/strong><\/p>\n

<\/em><\/p>\n

Lubo\u0161 Pln\u00fd se narodil 4. 11. 1961 v\u00a0\u010cesk\u00e9 L\u00edp\u011b. Rodi\u010de pracovali u \u010ceskoslovensk\u00fdch drah – matka jako \u00fa\u010detn\u00ed, otec jako vedouc\u00ed z\u00e1sobovac\u00edho skladu. Jako jedin\u00e9mu d\u00edt\u011bti se mu rodi\u010de v\u011bnovali s\u00a0nadstandartn\u00ed p\u00e9\u010d\u00ed.\u00a0\u00a0Z\u00a0t\u00e9to laskav\u00e9 ale i omezuj\u00edc\u00ed bubliny se vymanil po z\u00e1kladn\u00ed \u0161kole, kdy za\u010dal studovat v\u00a075 km vzd\u00e1len\u00e9m Nymburce na elektrotechnick\u00e9m u\u010dili\u0161ti (1977 \u2013 1982). Zakusil zde nesmysln\u00fd dril, ale rovn\u011b\u017e si vyzkou\u0161el mo\u017enosti, jak syst\u00e9m obej\u00edt a vytvo\u0159it si tak prostor pro osobn\u00ed svobodu. Psal si nap\u0159. nesmysln\u00e9 omluvenky, kter\u00e9 kupodivu byly akceptov\u00e1ny. To ho povzbudilo k\u00a0dal\u0161\u00edmu pokou\u0161en\u00ed limit\u016f. Zlom nastal b\u011bhem povinn\u00e9 vojensk\u00e9 slu\u017eby (1983 \u2013 1984), kdy v\u00a0d\u016fsledku stresu za\u010dal trp\u011bt depresemi a nespavost\u00ed. Po n\u011bkolikadenn\u00ed absenci sp\u00e1nku se dostavily halucinace a mlad\u00fd mu\u017e byl hospitalizov\u00e1n na psychiatrii. Nevhodn\u011b zvolen\u00e1 psychofarmaka jeho stav je\u0161t\u011b zhor\u0161ila. Po vojn\u011b \u0161est let pracoval jako elektromechanik u \u010ceskoslovensk\u00fdch drah. Ve v\u011bku dvacet sedm let mu kv\u016fli neust\u00e1vaj\u00edc\u00edm pot\u00ed\u017e\u00edm s\u00a0depres\u00ed a nespavost\u00ed byl p\u0159izn\u00e1n invalidn\u00ed d\u016fchod. Diagnostikov\u00e1na mu byla simplexn\u00ed schizofrenie, jen\u017e se vyzna\u010duje desocializac\u00ed, uzav\u00edr\u00e1n\u00edm se sama do sebe apod. Lubo\u0161 Pln\u00fd se tehdy za\u010dal intenzivn\u011b v\u011bnovat samostudiu psychiatrie a medic\u00edny, aby zjistil ko\u0159eny sv\u00fdch pot\u00ed\u017e\u00ed. Tyto poznatky pozd\u011bji bohat\u011b zu\u017eitkoval ve sv\u00e9 tvorb\u011b. S\u00a0odstupem \u010dasu se zd\u00e1, \u017ee diagn\u00f3za nebyla spr\u00e1vn\u011b zvolena, trp\u00ed sice po\u0159\u00e1d nespavost\u00ed, ale to jsou v\u00a0podstat\u011b asi ve\u0161ker\u00e9 jeho psychick\u00e9 pot\u00ed\u017ee. V\u00a0roce 1988 se Lubo\u0161 p\u0159est\u011bhoval do Prahy. \u017divil se jako ukl\u00edze\u010d v\u00a0Dom\u011b m\u00f3dy, prodava\u010d v\u00a0antikvari\u00e1tu, mal\u00ed\u0159 c\u00ednov\u00fdch voj\u00e1\u010dk\u016f, hl\u00edda\u010d v\u00a0galerii Nov\u00e1 s\u00ed\u0148 a v\u00a0galerii Pecka na Vy\u0161ehrad\u011b, apod. Pozd\u011bji si dokonce ud\u011blal odborn\u00fd kurz na hroba\u0159e, kter\u00fd ho oprav\u0148uje vykon\u00e1vat tuto profesi ve v\u0161ech \u010dlensk\u00fdch st\u00e1tech EU. Sv\u011bt v\u00fdtvarn\u00e9ho um\u011bn\u00ed ho v\u0161ak od d\u011btstv\u00ed p\u0159itahoval nejv\u00edc, studoval d\u011bjiny um\u011bn\u00ed, u\u010dil se kreslit. Po opakovan\u00e9m ne\u00fasp\u011b\u0161n\u00e9m pokusu o p\u0159ijet\u00ed na AVU se zde stal na \u0161est let placen\u00fdm modelem. Toto obdob\u00ed zavr\u0161il \u00fasp\u011b\u0161nou \u017e\u00e1dost\u00ed o p\u0159id\u011blen\u00ed neexistuj\u00edc\u00edho titulu \u201eakademick\u00fd model\u201c. Dal\u0161\u00edmi v\u00fdznamn\u00fdmi zlomy v\u00a0\u017eivot\u011b a tvorb\u011b Lubo\u0161e Pln\u00e9ho byla pak smrt rodi\u010d\u016f (2004), t\u011bhotenstv\u00ed jeho partnerky Lucie, narozen\u00ed syna Vincenta (2005), n\u00e1sledn\u00fd s\u0148atek (2007) a rozvod (2012). Tyto a podobn\u00e9 ud\u00e1losti zpracov\u00e1v\u00e1 v anatomick\u00fdch kresb\u00e1ch a sv\u00e9r\u00e1zn\u00fdch den\u00edc\u00edch, kter\u00e9 dos\u00e1hly sv\u011btov\u00e9ho v\u011bhlasu.\u00a0Lubo\u0161 Pln\u00fd\u00a0se v\u00a0roce 2017 stal jedin\u00fdm \u010desk\u00fdm autorem zastoupen\u00fdm na\u00a0mezin\u00e1rodn\u00ed expozici Viva Arte Viva! 57. Bien\u00e1le sou\u010dasn\u00e9ho um\u011bn\u00ed v\u00a0Ben\u00e1tk\u00e1ch.<\/p>\n

Kur\u00e1torky v\u00fdstavy\u00a0VIVA Lubo\u0161 Pln\u00fd!, kter\u00e1 prob\u011bhla na p\u0159elomu let 2017 a 2018 v\u00a0Centru pro sou\u010dasn\u00e9 um\u011bn\u00ed\u00a0DOX, Ivana Br\u00e1dkov\u00e1, Nadia Rovderov\u00e1 a Terezie Zem\u00e1nkov\u00e1, p\u0159ipravuj\u00ed letos k\u00a0vyd\u00e1n\u00ed prvn\u00ed ucelenou publikaci, kter\u00e1 obrazov\u011b i textov\u011b zmapuje a p\u0159edstav\u00ed tvorbu Lubo\u0161e Pln\u00e9ho.<\/em><\/p>\n

\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026.<\/strong><\/p>\n

Lubo\u0161 Pln\u00fd: Zachoval\u00e9 ostatky \/\u00a0Preserved Remains<\/em><\/strong><\/p>\n

(3 May\u201328 May 2018)
\ncurated by: Nadia Rovderov\u00e1<\/em><\/strong><\/p>\n

<\/em><\/strong><\/p>\n

technical cooperation: Anton\u00edn Vr\u0148\u00e1k, Lucie \u010cern\u00e1, Terezie Zem\u00e1nkov\u00e1, Ksenyia Chudarova, Karel Urban p\u0159eklady \/ translation,\u00a0 Dana Michlov\u00e1, r\u00e1mov\u00e1n\u00ed \/ framing<\/p>\n

exhibition is supported by:\u00a0Magist\u00e1t hlavn\u00edho m\u011bsta Prahy a St\u00e1tn\u00ed fond kultury MK\u010cR<\/p>\n

An exhibition of drawings, paintings, and collages from the early 1990s.<\/span><\/p>\n

Lubo\u0161 Pln\u00fd \u2013\u00a0this time in a black-humorous meditation on the theme of the eternal human fate of confrontation with physical pain and death through a collection of previously unknown author\u2019s artwork \u2013 drawings, paintings, and collages from the early 1990s. The exhibition includes a series of photographs from the Stitching series. In 2003, the author tested the limits of his own pain and underwent stitching in different parts of his body.<\/em><\/strong> <\/em><\/p>\n

<\/em><\/p>\n

\u201cFor me, art is auto-therapy, and it is always a priority for me. It is in my diary records, where I record the time I dedicate to my work, where I record my mental and somatic processes, stays in the hospital, etc. When I know that an unpleasant experience will give birth to art, it is as if I were reducing the risk that the given situation poses to me. The artistic record overrides the gravity of the situation.\u201d<\/em><\/p>\n

<\/em><\/p>\n

<\/em><\/p>\n

Lubo\u0161 Pln\u00fd<\/em><\/p>\n

Until the summer of 2017, the name of Lubo\u0161 Pln\u00fd (* 1961) was almost unknown to the Czech art loving public. Yet, he had long been spoken of as a revelation in the waters of contemporary art \u2013 but only in a narrow circle of connoisseurs. The introverted artist, sometimes perhaps wrongly placed among art brut artists, shocks and holds the audiences spellbound with his original concept of artistic creation, with the ingenuous brutal sincerity with which he is able to share through his works both the vital and the completely trivial areas of \u200b\u200blife and his personal philosophy. Birth, death, sex, sleep, illness, aging, the threshold of pain, the quality and quantity of textile fibres that get caught in his belly button during a given period \u2013 all of this and much more is the content of his works.<\/p>\n

Success
\n<\/strong>
\nLubo\u0161 Pln\u00fd became famous for his detailed diary anatomical drawings. Gallery owners in Paris, New York or Tokyo have been interested in him for fifteen years. His works are represented in famous world art collections: Centre Georges Pompidou in Paris, Bruno Decharme\u2019s abcd, Fran\u00e7ois Pinault, or Antoine de Galbert. However, in the Czech Republic, Lubo\u0161 Pln\u00fd has exhibited his works only sporadically, mainly at group exhibitions in Prague, that is at the Stone Bell House, in DOX, in Museum Montanelli, or in Artinbox Gallery. There have been only two solo exhibitions of his work \u2013 at the Millennium Gallery in 2002 and at the Artinbox Gallery in the spring of 2017. Everything changed in the summer of 2017, when Pln\u00fd experienced a phenomenal success at the 57th<\/sup> Biennale of Contemporary Art in Venice. French curator Christine Macel chose him as the only Czech artist for the main exhibition section. And Pln\u00fd\u2019s works stood out. ARTSY, an American server about contemporary art, mentioned him among the fourteen notable authors of one hundred and twenty who exhibited in the main section. The French daily Le Monde described him as one of the three most interesting. Since then, Pln\u00fd\u2019s star has been rising, and there is already interest in his work in his native country. At the end of 2017, the DOX Centre for Contemporary Art organized the so far largest and most comprehensive exhibition of his work, called VIVA Lubo\u0161 Pln\u00fd!, conceived as a tribute to his success at the Venice Biennale. For the first time, this exhibition included almost all the areas of the author\u2019s extensive artwork \u2013 on display were some of his most important anatomical drawings, time-lapse conceptual projects, collages, assemblages, sculptures, objects, and photographs. However, one part of his work was missing here, which we would like to present at the exhibition Preserved Remains<\/strong>. This is an extensive set of drawings, paintings, assemblages, and collages from the early 1990\u2019s, which originally comprised of approximately three hundred works, of which we will present a selection of about fifty. The theme is the eternal human fate of confronting pain and death \u2013 in the artist\u2019s presentation it comes with the typical elements of his black humour. There are also sexual, religious, and political symbols here \u2013 the fascination with the character and writing, which we know, for example, from the work of Eduard Ov\u010d\u00e1\u010dek or Ji\u0159\u00ed Balcar, is obvious.<\/p>\n

Time
\n<\/strong>
\n \u201cI have always been interested in the passage of time and dilapidation. I have done a lot of experiments, trying to leave a trace somewhere, and find out years later whether it has changed or hasn\u2019t.\u201d<\/em><\/p>\n

<\/em><\/p>\n

<\/em><\/p>\n

Lubo\u0161 Pln\u00fd<\/em><\/p>\n

Lubo\u0161 Pln\u00fd has been fascinated with the passage of time his whole life. The factor of time is crucial to him. In his works he accurately marks the beginning and the end, but also every break he takes from work \u2013 day, hour and minute. By the way, he does not count time in years, but in days \u2013 he measures his life by the number of days he has lived. He always marks his works with a number indicating how many days old he was when he started work, and then with a number saying how many days he had been alive on the day he finished the work.<\/p>\n

Cemeteries
\n<\/strong>
\nThe best place to meditate on the transience of human existence is the cemetery. In the early 1990\u2019s, Lubo\u0161 Pln\u00fd spent a lot of time there. Besides the classic cemeteries he was inspired by the Jewish or Sudeten German ones, often destroyed, abandoned and not looked after. Here he researched the aesthetics of the tombstones and thus he came up with the idea to use fragments of imprints in his work. He made a negative impression of embossed tombstones on paper with the aid of gum Arabic. He finished off the drawings at home using acrylic or temper colours, Indian ink, pencils, sprays, script templates, etc. Stretched on the board he would then shower them creating a drawing accompanied by a negative imprint of the inscriptions and reliefs of the tombstones. The author notes that a similar activity would probably not be possible today. Before and shortly after the Velvet Revolution, cemeteries were not looked after, they were not fenced, no one was interested in an artist coating the tombstones with gum resin with sheets spread around so that the prints would dry out. (The gum resin was later washed off by the rain, so the artist did no damage to the graves.) Lubo\u0161 Pln\u00fd honed his fascination with funerary themes by taking a grave digging course in 2004 and is now certified to practice this profession throughout the European Union. As one of the reasons he also states that after he succeeded in obtaining the official, until then non-existent title of \u201cacademic model\u201d at the Academy of Fine Arts in Prague, he was attracted by the idea of \u200b\u200bowning another certificate.<\/p>\n

Stitching
\n<\/strong>
\nIn 2003, Lubo\u0161 Pln\u00fd decided for another personal test \u2013 he wanted to test the limits of his own pain and undergo stitching in various parts of the body. He had no intention of presenting the project in public, but when he had already decided to do so, he felt sorry not to make a good photographic documentation that he could possibly work with later. He began to thoroughly prepare for the project: he adjusted his diet to a purely vegetarian, he did two thousand push-ups every day, he improved his fitness in order to handle the task. Then, he went to the studio of photographer Vladim\u00edr \u0160t\u011bp\u00e1nsk\u00fd and without anaesthesia he stitched through his face with a shoemaker\u2019s needle and thread. Pln\u00fd\u2019s friend, whom he brought with him, then helped him to sew his hands so that he could feel the intensity of the slightest movement of his head through the whole body. Pln\u00fd was photographed before, during and after the event. The black humour and playful S\/M atmosphere was later used in the staged photographic self-portraits that he had made in the photo studio of Franti\u0161ek Va\u0148\u00e1sek. For example, his self-portrait with a strawberry has a strong erotic charge. Here, the artist pierced his face with a long needle, while a beautiful red strawberry \u2013 skewered on a needle \u2013 shines in his mouth.<\/p>\n

<\/strong><\/p>\n

Pain
\n<\/strong>
\n\u201cI’m not looking for pain. It was just a personal test, very important to me, but I don\u2019t want to repeat it again. Originally, I didn\u2019t consider it to be art at all, I just wanted to make a photographic record. Maybe it helped me partly understand what my ex-wife Lucie was going through when she gave birth to our son Vincent.\u201d<\/em><\/p>\n

<\/em><\/p>\n

Lubo\u0161 Pln\u00fd<\/em><\/p>\n

Thirteen years have passed. Meanwhile, both of Pln\u00fd\u2019s parents died, his son Vincent was born, he married his girlfriend Lucie, he met his French gallerist Bruno Decharme, with whose help he started his international artistic career. When it took off, he was finally able to provide for himself and for his family. Then he got divorced… \u201cYears later I got an idea to have photographs of myself taken again in the same positions and see the marks of time on my body.\u201d<\/em> So in 2016, he returned to the brome-silver black and white photos from 2003 and had himself photographed again in the same positions \u2013 this time in colour on digital camera. He did not plan stitching his body again, but he sewed together his self-portraits from 2003 and 2016 in various ways. The resulting collages and assemblages reflect the transformation of the artist over the course of thirteen years, as well as the shift of the media from analogue in black and white to digital in colour.<\/p>\n

The death of his parents who passed away quickly only a month apart affected him deeply. He also dealt with it in a creative meditation. To his mother and father he devoted a drawing in which he put a laboratory dish with their ashes, and around it he carefully inscribed thousands of dates \u2013 all the days of their lives.
\nNadia Rovderov\u00e1, Prague 2018<\/p>\n

Curriculum:
\n<\/strong>
\nLubo\u0161 Pln\u00fd was born on 4 November 1961 in \u010cesk\u00e1 L\u00edpa. His parents worked at Czechoslovak Railways \u2013 his mother as an accountant, his father as the head of the supply depot. Being the only child, he was paid extra care by his parents. He escaped this kind but constraining bubble when he finished elementary school and started studying in Nymburk, 75 km away, at an electro-technical apprentice school (1977\u20131982). Here he experienced absurd drill, but also tried out ways how to get around the system and create space for personal freedom. For example, he wrote for himself absurd excuses, which were surprisingly accepted. This encouraged him to test the limits further. A radical change occurred during the compulsory military service (1983\u20131984), when he suffered from depression and insomnia as a result of stress. After a few day absence of sleep, hallucinations occurred and the young man was hospitalized at the psychiatric ward. The inappropriately chosen psychopharmaceuticals made his condition even worse. He was diagnosed with simplex schizophrenia, characterized by desocialization, self-closing, etc. Lubo\u0161 Pln\u00fd then began to intensively devote himself to self-study of psychiatry and medicine to learn about the roots of his problems. He frequently used this knowledge later in his work. With time, it seems that the diagnosis was not properly established; he still suffers from insomnia, but that is probably about all of his psychological problems. In 1988 Pln\u00fd moved to Prague. He worked as a cleaner at D\u016fm m\u00f3dy, an assistant in a second-hand bookshop, a painter of tin soldiers, a custodian at the gallery Nov\u00e1 s\u00ed\u0148 and at the Pecka Gallery in Vy\u0161ehrad, and so on. Later, he even took a grave digging course that entitles him to practice this profession in all countries of the EU. Nevertheless, the world of fine arts has attracted him most since childhood, he studied the history of art, he learned to draw. After repeated unsuccessful attempts at being accepted to the Academy of Fine Arts in Prague, he became a paid model for six years here. This period culminated in a successful application for a non-existent title of \u201cacademic model\u201d. Other breaking points in the life and work of Lubo\u0161 Pln\u00fd was the death of his parents (2004), the pregnancy of his partner Lucie, the birth of his son Vincent (2005), the subsequent marriage (2007) and divorce (2012). These and similar events are processed in his anatomical drawings and individualized journals that have become renowned all around the world. In 2017, Lubo\u0161 Pln\u00fd became the only Czech artist represented at the international exhibition Viva Arte Viva! of the 57th<\/sup> Biennale of Contemporary Art in Venice.<\/p>\n

The curators of the exhibition VIVA Lubo\u0161 Pln\u00fd! held at the turn of 2017 and 2018 at the DOX Centre for Contemporary Art, Ivana Br\u00e1dkov\u00e1, Nadia Rovderov\u00e1, and Terezie Zem\u00e1nkov\u00e1 are preparing this year the first comprehensive publication that will map and present the work of Lubo\u0161 Pln\u00fd in pictures and texts.<\/p>\n

\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026<\/strong><\/p>\n


\n<\/strong><\/p>\n

Artinbox Gallery
\nPerlov\u00e1 370\/3, D\u016fm v Kisn\u011b
\n110 00 Praha 1 – Star\u00e9 M\u011bsto
\nCzech Republic<\/p>\n

otev\u0159eno: \u00fater\u00fd, \u010dtvrtek: 16.00 \u2013 18.00 hod., nebo na vy\u017e\u00e1d\u00e1n\u00ed: \/ open: tuesday, thursday: 4 – 6 p.m., or by request, tel.: +420 777 748\u00a0433, nadia@artinbox.cz<\/a>, www.artinbox.cz<\/a><\/p>\n

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