{"id":4242,"date":"2019-06-19T17:49:11","date_gmt":"2019-06-19T17:49:11","guid":{"rendered":"http:\/\/www.artinbox.cz\/?p=4242"},"modified":"2019-10-15T14:06:11","modified_gmt":"2019-10-15T14:06:11","slug":"vaclav-zykmund-fotografie-kresby-kolaze-18-6-12-9-2019-vystava-k-105-vyroci-narozeni-autora","status":"publish","type":"post","link":"https:\/\/www.artinbox.cz\/?p=4242","title":{"rendered":"V\u00e1clav Zykmund \/ Fotografie, kresby, kol\u00e1\u017ee (10. 10. – 7. 11. 2019) \/ v\u00fdstava k 105. v\u00fdro\u010d\u00ed narozen\u00ed autora"},"content":{"rendered":"

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V\u00e1clav Zykmund: Autoportr\u00e9t s \u017e\u00e1rovkou, 1944<\/dd>\n<\/dl>\n<\/div>\n<\/h1>\n

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V\u00e1clav Zykmund<\/span><\/strong><\/p>\n

fotografie, kresby, kol\u00e1\u017ee \/ photography, drawings, collages\u2026<\/em><\/span><\/strong><\/p>\n

(<\/span><\/strong>10. 10. \u2013 7. 11. 2019)<\/span><\/strong> <\/span><\/strong><\/p>\n

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kur\u00e1torky \/ curated by: Suzanne Pastor, Nadia Rovderov\u00e1<\/span><\/strong> <\/span><\/strong><\/p>\n

v\u00fdstavu uvede \/ introduction by: Ji\u0159\u00ed Machalick\u00fd<\/span><\/strong> <\/span><\/strong><\/p>\n

pod\u011bkov\u00e1n\u00ed \/ thanks to: Alena Zykmundov\u00e1<\/span><\/strong> <\/span><\/strong><\/p>\n

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V\u00fdstava je v\u011bnov\u00e1na 105. v\u00fdro\u010d\u00ed narozen\u00ed fotografa, mal\u00ed\u0159e, teoretika, v\u00fdtvarn\u00e9ho kritika a pedagoga, zakladatele legend\u00e1rn\u00ed surrealistick\u00e9 Skupiny Ra. \/ Exhibition devoted to the 105th anniversary of the birth of a photographer, painter, theoretician, art critic and teacher, founder of the legendary surrealistic Ra group.<\/em><\/span><\/strong> <\/span><\/em><\/strong><\/p>\n

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Za zap\u016fj\u010den\u00ed d\u011bl d\u011bkujeme: Alena Zykmundov\u00e1, Kicken Gallery Berlin, Moravsk\u00e1 galerie, Brno, Suzanne Pastor<\/span> <\/span><\/p>\n

technick\u00e1 spolupr\u00e1ce \/ technical cooperation: Mark\u00e9ta P\u00e1lkov\u00e1, Anton\u00edn Vr\u0148\u00e1k, Eugen Kukla.<\/span> <\/span><\/p>\n

Celoro\u010dn\u00ed v\u00fdstavn\u00ed program galerie Artinbox podpo\u0159ila Mestsk\u00e1 \u010d\u00e1st, Praha 1<\/span> <\/span><\/p>\n

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V\u00fdstava v\u011bnov\u00e1na 105. v\u00fdro\u010d\u00ed narozen\u00ed fotografa, mal\u00ed\u0159e, teoretika, v\u00fdtvarn\u00e9ho kritika a pedagoga, zakladatele surrealistick\u00e9 Skupiny Ra. (mal\u00fd s\u00e1l galerie) \/ Exhibition devoted to the 105th anniversary of the birth of the photographer, painter, theoretician, art critic and teacher, founder of the surrealistic Ra group. (small gallery hall)<\/span> <\/span><\/p>\n

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K\u00a0zhl\u00e9dnut\u00ed jsou rann\u00ed fotografie z\u00a02. poloviny 30. let, fotografie z\u00a0akc\u00ed skupiny Ra z <\/span>let 1942 – 1944<\/span> (V\u00fdhru\u017en\u00fd kompas a \u0158\u00e1d\u011bn\u00ed) a d\u00e1le kresby a kol\u00e1\u017ee z\u00a0let 70t\u00fdch a 80t\u00fdch minul\u00e9ho stolet\u00ed. <\/span> <\/span><\/p>\n

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V\u00e1clav Zykmund: Fotografie, kresby, kol\u00e1\u017ee \/ text: Ji\u0159\u00ed Machalick\u00fd<\/span><\/strong><\/p>\n

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V\u00e1clav Zykmund jist\u011b pat\u0159\u00ed k nejv\u00fdrazn\u011bj\u0161\u00edm osobnostem \u010desk\u00e9ho um\u011bn\u00ed generace nastupuj\u00edc\u00ed na po\u010d\u00e1tku t\u0159ic\u00e1t\u00fdch let minul\u00e9ho stolet\u00ed. Jeho tvorba zasahuje do n\u011bkolika oblast\u00ed, zauj\u00edm\u00e1 \u0161irok\u00e9 pole od vizu\u00e1ln\u00edho projevu p\u0159es beletrii a\u017e k psan\u00ed teoretick\u00fdch text\u016f a pedagogick\u00e9 \u010dinnosti. Dosahuje vnit\u0159n\u00ed jednoty, i kdy\u017e se rozv\u00edj\u00ed r\u016fzn\u00fdmi sm\u011bry a vyd\u00e1v\u00e1 se zna\u010dn\u011b spletit\u00fdmi cestami p\u0159es nejr\u016fzn\u011bj\u0161\u00ed k\u0159i\u017eovatky. Je n\u00e1zorov\u011b zna\u010dn\u011b slo\u017eit\u00e1 a vyr\u016fst\u00e1 z rozmanit\u00fdch zdroj\u016f. Jeho projev m\u00e1 vnit\u0159n\u00ed logiku a p\u0159itom po cel\u00fd \u010das z\u016fst\u00e1val otev\u0159en\u00fd nov\u00fdm podn\u011bt\u016fm. V na\u0161em um\u011bn\u00ed m\u00e1 stejn\u011b d\u016fle\u017eit\u00e9 m\u00edsto jako tvorba dal\u0161\u00edch p\u0159\u00edslu\u0161n\u00edk\u016f siln\u00e9 generace, k n\u00ed\u017e se \u0159ad\u00ed \u010dlenov\u00e9 Skupiny 42, skupiny Ra nebo Sedmi v \u0159\u00edjnu.<\/span><\/p>\n

V\u00e1clav Zykmund nav\u00e1zal na prvn\u00ed vlnu surrealismu, ale podobn\u011b jako Josef Istler nebo Franti\u0161ek Hude\u010dek rozvinul jej\u00ed podn\u011bty zna\u010dn\u011b osobit\u00fdm a nez\u00e1visl\u00fdm zp\u016fsobem. Vych\u00e1zel ze sv\u00e9 bohat\u00e9 p\u0159edstavivosti, ale m\u011bl z\u00e1rove\u0148 vyt\u0159\u00edben\u00fd smysl pro \u0159\u00e1d. Pohyboval se tedy mezi t\u011bmito krajn\u00edmi polohami, kter\u00e9 se navz\u00e1jem ovliv\u0148ovaly a prostupovaly. V\u00fdznamn\u00fd byl pro jeho tvorbu i zna\u010dn\u00fd intelektu\u00e1ln\u00ed rozhled, neust\u00e1l\u00e9 p\u0159em\u00fd\u0161len\u00ed nad vztahy mezi rozd\u00edln\u00fdmi epochami nebo kulturami vznikaj\u00edc\u00edmi v r\u016fzn\u00fdch zem\u00edch\u00a0 a vyr\u016fstaj\u00edc\u00edmi z odli\u0161n\u00e9ho podhoub\u00ed a tradic.<\/span><\/p>\n

Tato v\u00fdstava se skl\u00e1d\u00e1 ze dvou okruh\u016f, kter\u00e9 jsou \u010dasov\u011b vzd\u00e1len\u00e9, ale p\u0159esto souvisej\u00ed smyslem pro experimentov\u00e1n\u00ed, pro hled\u00e1n\u00ed nov\u00fdch cest, pro odkr\u00fdv\u00e1n\u00ed souvislost\u00ed mezi r\u016fzn\u00fdmi \u010dasy. O fotografi\u00edch toho bylo u\u017e naps\u00e1no hodn\u011b, vyjad\u0159ovali se k nim p\u0159edn\u00ed teoretici a mezi nimi p\u0159edev\u0161\u00edm Anton\u00edn Dufek. Na v\u00fdstav\u011b jsou fotografie z cykl\u016f \u0158\u00e1d\u011bn\u00ed 1 a 2, znovu dokonale technicky reprodukovan\u00e9 podle origin\u00e1l\u016f ulo\u017een\u00fdch v Moravsk\u00e9 galerii v Brn\u011b. Tyto Zykmundovy sn\u00edmky, kter\u00e9 zachycuj\u00ed akce o \u0159adu let p\u0159edch\u00e1zej\u00edc\u00ed happeningy, jsou zn\u00e1van\u00e9 a obdivovan\u00e9 po cel\u00e9m sv\u011bt\u011b a pat\u0159\u00ed k tomu nejlep\u0161\u00edmu, co v \u010desk\u00e9 fotografii minul\u00e9ho stolet\u00ed vzniklo. <\/span><\/p>\n

Mnohem m\u00e9n\u011b zn\u00e1m\u00e9 a p\u0159itom um\u011blecky nem\u00e9n\u011b hodnotn\u00e9 jsou v\u0161ak kol\u00e1\u017ee a kresby ze z\u00e1v\u011bre\u010dn\u00e9ho obdob\u00ed um\u011blcova \u017eivota, tedy z druh\u00e9 poloviny sedmdes\u00e1t\u00fdch a prvn\u00ed poloviny osmdes\u00e1t\u00fdch let. Sv\u011bd\u010d\u00ed o tom, \u017ee jeho invence neztr\u00e1cela ani tehdy na intenzit\u011b. Dok\u00e1zal po l\u00e9tech, kdy se v\u011bnoval hlavn\u011b teorii, nav\u00e1zat na d\u0159\u00edv\u011bj\u0161\u00ed obdob\u00ed. Z\u00e1rove\u0148 v\u0161ak citliv\u011b vn\u00edmal sou\u010dasnou dobu, jej\u00ed\u017e atmosf\u00e9ra se za des\u00edtky let v\u00fdrazn\u011b zm\u011bnila. P\u0159esto\u017ee nep\u0159\u00e1la svobodn\u00e9mu um\u011bleck\u00e9mu projevu, tak tvorba V\u00e1clava Zykmunda svobodn\u00e1 z\u016fst\u00e1vala. Bylo pro n\u011bj charakteristick\u00e9, \u017ee si udr\u017eoval p\u0159ehled o um\u011bleck\u00e9m v\u00fdvoji nejen u n\u00e1s, ale i v zahrani\u010d\u00ed.<\/span><\/p>\n

Je to z\u0159eteln\u011b vid\u011bt i na jeho sv\u011b\u017e\u00edch kresb\u00e1ch a kol\u00e1\u017e\u00edch, v nich\u017e se op\u011bt, jako i v d\u0159\u00edv\u011bj\u0161\u00edch obdob\u00edch, dopl\u0148uje jasn\u00fd \u0159\u00e1d s voln\u00fdm prol\u00edn\u00e1n\u00edm post\u0159eh\u016f, my\u0161lenek a n\u00e1pad\u016f. V jeho pr\u00e1ci se st\u00e1le uplat\u0148ovala surrealistick\u00e1 schopnost spojit zd\u00e1nliv\u011b nespojiteln\u00e9 a naprosto svobodn\u011b rozvinout p\u0159edstavivost.<\/span><\/p>\n

Do zm\u00edn\u011bn\u00fdch kreseb a kol\u00e1\u017e\u00ed ze z\u00e1v\u011bre\u010dn\u00e9ho \u017eivotn\u00edho obdob\u00ed se prom\u00edt\u00e1 ovlivn\u011bn\u00ed r\u016fzn\u00fdmi sou\u010dasn\u00fdmi proudy, jako byl minimalismus \u010di konkretismus, ale V\u00e1clava Zykmunda nelze jednozna\u010dn\u011b p\u0159i\u0159adit k \u017e\u00e1dn\u00e9mu z nich. Pokud byl n\u011bkter\u00fdmi ovlivn\u011bn, tak je p\u0159etavil do origin\u00e1ln\u00ed podoby, do n\u00ed\u017e se vtiskla cel\u00e1 jeho dosavadn\u00ed zku\u0161enost a tak\u00e9 jeho teoretick\u00e9 vzd\u011bl\u00e1n\u00ed a pedagogick\u00e1 pr\u00e1ce, p\u0159i n\u00ed\u017e si musel p\u0159esn\u011b uv\u011bdomovat a tak\u00e9 formulovat ur\u010dit\u00e9 souvislosti. Tak\u00e9 se do n\u00ed prom\u00edtla i jeho nev\u0161edn\u00ed schopnost objevovat a zkou\u0161et nov\u00e9 postupy a v\u00fdrazov\u00e9 mo\u017enosti. Velmi p\u016fsobiv\u00e9 jsou jeho experimenty s propalov\u00e1n\u00edm pap\u00edru \u010di p\u00e1len\u00edm syntetick\u00fdch p\u00e1sek, zanech\u00e1vaj\u00edc\u00edch stopy ohn\u011b. T\u00edm se v\u0159adil mezi ostatn\u00ed um\u011blce, kte\u0159\u00ed zkou\u0161eli r\u016fzn\u00e9 materi\u00e1ly a technick\u00e9 postupy, vych\u00e1zej\u00edc\u00ed z na\u0161eho prost\u0159ed\u00ed. Dovedl se podobn\u011b jako Eduard Ov\u010d\u00e1\u010dek, Ladislav Nov\u00e1k, Jozef Jankovi\u010d, V\u011bra Janou\u0161kov\u00e1 a dal\u0161\u00ed vyrovnat se situac\u00ed, v n\u00ed\u017e nebylo mo\u017en\u00e9 experiment\u00e1ln\u00ed um\u011bn\u00ed vystavovat, tedy p\u0159inejmen\u0161\u00edm v ofici\u00e1ln\u00edch instituc\u00edch.<\/span><\/p>\n

Obdivuhodn\u00e9 jsou jeho kol\u00e1\u017ee a kresby z ma\u010dkan\u00fdch jemn\u00fdch pr\u016fsvitn\u00fdch pap\u00edr\u016f na myt\u00ed oken, jejich\u017e \u201etrhan\u00e9\u201c tvary dopl\u0148oval t\u011bmi nejjemn\u011bj\u0161\u00edmi barevn\u00fdmi t\u00f3ny. V n\u011bkter\u00fdch kresb\u00e1ch vyu\u017eil d\u011btsk\u00e9 kresby sv\u00e9 dcery Zuzanky, \u010d\u00edm\u017e dos\u00e1hl zvl\u00e1\u0161tn\u00edho p\u016fvabu a z\u00e1rove\u0148 nap\u011bt\u00ed. Jindy dok\u00e1zal d\u00e1t kresb\u00e1m spojen\u00fdm s kol\u00e1\u017e\u00ed p\u0159esn\u00fd rytmus, kdy\u017e vyu\u017eil voln\u00e9ho \u0159azen\u00ed list\u016f pap\u00edru. N\u011bkdy kombinoval kresbu pastelkami s kol\u00e1\u017e\u00ed z pr\u016fsvitn\u00e9ho pap\u00edru a dos\u00e1hl tak ne\u010dekan\u00fdch a zvl\u00e1\u0161tn\u00edch efekt\u016f. Uplat\u0148oval sv\u016fj mimo\u0159\u00e1dn\u00fd cit pro vyv\u00e1\u017eenou kompozici, v n\u00ed\u017e v\u0161ak nikdy nechyb\u011bla skryt\u00e1 energie.<\/span><\/p>\n

V dal\u0161\u00edch kol\u00e1\u017e\u00edch se zase vracel ke sv\u00fdm surrealistick\u00fdm po\u010d\u00e1tk\u016fm a dosahoval jemn\u00e9 a k\u0159ehk\u00e9 hravosti a z\u00e1rove\u0148 se p\u0159ibli\u017eoval nov\u00e9 figuraci \u010di pop artu, kdy\u017e citliv\u011b reagoval na sou\u010dasn\u00fd \u017eivotn\u00ed styl, kter\u00fd k\u00a0ki l\u016fjkl\u016fko\u016fn\u00e1m ze svobodn\u00e9 z\u00e1padn\u00ed spole\u010dnosti p\u0159ece jen, ov\u0161em v trochu jin\u00e9 podob\u011b, pronikal. N\u011bkter\u00e9 z kol\u00e1\u017e\u00ed kombinovan\u00e9 s kresbou jsou zase tak jemn\u00e9, \u017ee p\u0159ipom\u00ednaj\u00ed pozdn\u00ed kresby a obrazy Josefa \u0160\u00edmy nebo k\u0159ehk\u00e9 pastely V\u00e1clava Bo\u0161t\u00edka. Velmi p\u016fsobiv\u00e1 je s\u00e9rie kreseb \u2013 kol\u00e1\u017e\u00ed s nit\u011bmi tvo\u0159\u00edc\u00edmi voln\u00e9 linie. Op\u011bt se tu prol\u00edn\u00e1 \u0159\u00e1d s fantazi\u00ed a s citliv\u00fdm vymezen\u00edm prostoru. V n\u011bkter\u00fdch kol\u00e1\u017e\u00edch se prostupuj\u00ed r\u016fzn\u00e9 \u010dasy \u2013 sou\u010dasnost s histori\u00ed, podobn\u011b jako v rol\u00e1\u017e\u00edch \u010di prol\u00e1\u017e\u00edch Ji\u0159\u00edho Kol\u00e1\u0159e.<\/span><\/p>\n

Svou nejnov\u011bj\u0161\u00ed tvorbou se vlastn\u011b spojil s um\u011blci o generaci mlad\u0161\u00edmi a p\u0159in\u00e1\u0161el do \u010desk\u00e9ho um\u011bn\u00ed st\u00e1le nov\u00e9 podn\u011bty. Bylo by t\u0159eba, aby tato d\u016fle\u017eit\u00e1 a dosud opom\u00edjen\u00e1 \u010d\u00e1st jeho pr\u00e1ce byla zhodnocena a aby se p\u0159irozen\u011b v\u0159adila do celkov\u00fdch souvislost\u00ed. <\/span> <\/span><\/p>\n

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V\u00e1clav Zykmund, v\u00fdtvarn\u00edk, publicista, teoretik a u\u010ditel, p\u0159edn\u00ed \u010dlen Brn\u011bnsk\u00e9 um\u011bleck\u00e9 surrealistick\u00e9 skupiny Ra, je zn\u00e1m\u00fd sp\u00ed\u0161 v zahrani\u010d\u00ed, ne\u017e v rodn\u00fdch \u010cech\u00e1ch. Na v\u00fdznam jeho tvorby reaguj\u00ed historici um\u011bn\u00ed a kur\u00e1to\u0159i galeri\u00ed a muze\u00ed z cel\u00e9ho sv\u011bta. Jeho fotografie jsou nezbytn\u00fdm p\u0159\u00edsp\u011bvkem k historii \u010desk\u00e9 modern\u00ed fotografie, obzvl\u00e1\u0161t\u011b v r\u00e1mci kontextu surrealismu. Byl prvn\u00edm, kdo pou\u017eil fotografii k dokumentaci um\u011bn\u00ed akce \u010di \u201ehappeningu\u201c, a to u\u017e v letech 1944\u201345 spolu s \u010dleny skupiny Ra v Brn\u011b. <\/span> <\/span><\/p>\n

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V\u00a0p\u0159\u00edpad\u011b z\u00e1jmu o koupi origin\u00e1ln\u00edch d\u011bl V\u00e1clava Zykmunda, kontaktujte galerii.<\/span> <\/span><\/p>\n

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Artinbox Gallery
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V\u00e1clav Zykmund: <\/span><\/strong>Photography, drawings, collages\u2026 \/ text by <\/span><\/em><\/strong>Ji\u0159\u00ed Machalick\u00fd<\/span><\/strong><\/p>\n

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V\u00e1clav Zykmund is surely one of the most prominent personalities of the Czech art scene arising in the early 1930s. His work extends into several areas, ranging from visual expression to fiction to writing theoretical texts and teaching activity. It attains inner unity, even if it develops in different directions and sets out on immensely intricate paths through various intersections. In its vision, it is considerably complex and it stems from diverse sources. His expression retains inner logic, while always remaining open to new impulses. In Czech art, it has an equally important place as the work of other members of the strong generation represented by Skupina 42, Ra or Sedm v \u0159\u00edjnu.<\/span><\/p>\n

V\u00e1clav Zykmund followed up on the first wave of surrealism, but similarly to Josef Istler or Franti\u0161ek Hude\u010dek, he developed its stimuli in a very distinctive and independent fashion. He drew from his rich imagination, but he also had a refined sense of order. So he moved between these extreme positions that interacted and pervaded each other. Great intellectual insight, continual thinking about the relationships between different epochs or cultures emerging in different countries and emerging from a different background and traditions were significant to his work.<\/span><\/p>\n

This exhibition consists of two cycles that lie far from each other in time but are still related to a sense of experimentation, to finding new paths, to uncovering connections between different times. A lot has been written about the photographs, leading theoreticians commented on them, most importantly Anton\u00edn Dufek. At the exhibition there are photographs from the series \u0158\u00e1d\u011bn\u00ed 1 and 2, again perfectly technically reproduced according to the originals deposited in the Moravian Gallery in Brno. These Zykmund\u2019s images, which capture the events that precede happenings by many years, are recognized and admired all over the world and are among the best that originated in Czech photography of the last century.<\/span><\/p>\n

However, collages and drawings from the final period of the artist\u2019s life, that is from the late seventies and early eighties, are much less well-known although equally valuable. They testify that his invention did not lose its intensity even then. After years of dedicating himself mainly to theory, he managed to follow up on his earlier periods. At the same time, however, he sensitively perceived the present age, whose atmosphere had changed significantly over the decades. Although it was not favourable for free artistic expression, the work of V\u00e1clav Zykmund remained free. It was characteristic of him that he kept track of artistic development not only in our country but also abroad.<\/span><\/p>\n

It is also clearly visible in his fresh drawings and collages, in which again, as in earlier times, the clear order is complemented with free blending of observations, thoughts and ideas. In his work, the surrealistic ability to combine seemingly incompatible and to develop imagination completely freely still applied.<\/span><\/p>\n

These drawings and collages from the final period of his life reflect the influence of various current streams, such as minimalism or concretism, but V\u00e1clav Zykmund cannot be unambiguously assigned to any of them. If he was influenced by some, he transformed them into an original form, in which all his previous experience was imprinted, as well as his theoretical education and pedagogical work, in which he had to realize and conceive certain contexts. It also reflected his remarkable ability to discover and try new methods and means of expression. Very impressive are his experiments with burning paper or burning synthetic tapes, leaving traces of fire. This put him in place with the other artists who tried different materials and techniques based on our every-day environment. Like Eduard Ov\u010d\u00e1\u010dek, Ladislav Nov\u00e1k, Jozef Jankovi\u010d, V\u011bra Janou\u0161kov\u00e1 and others, he managed to cope with the situation in which it was not possible to exhibit experimental art, at least in official institutions.<\/span><\/p>\n

Admirable are his collages and drawings from creased, soft translucent window-washing papers, whose \u201cchoppy\u201d shapes he complemented by the finest colour tones. In some drawings he used children\u2019s drawings of his daughter Zuzanka, by which he achieved both a special charm and tension. At other times, he was able to give the collage-like drawings a precise rhythm when using a free order of the sheets. Sometimes he combined drawing with crayons with a collage from translucent paper to achieve unexpected and special effects. He used his extraordinary sense of a balanced composition, which never lacked hidden energy.<\/span><\/p>\n

In other collages, he returned to his surrealist origins and achieved subtle and fragile playfulness while at the same time getting closer to new figuration or pop art, when he sensitively reacted to the contemporary lifestyle that, after all, penetrated to our country from a free Western society, only in a slightly different form. Some of the collages combined with drawing are so delicate that they resemble the late drawings and paintings of Josef \u0160\u00edma or the fragile pastels of V\u00e1clav Bo\u0161t\u00edk. Very impressive is the series of drawings-collages with threads forming free lines. Again, here mingle order with fantasy and delicate definition of space. In some collages, different times are pervading \u2013 the present with history, similarly as in the rollages or prolages of Ji\u0159\u00ed Kol\u00e1\u0159.<\/span><\/p>\n

In fact, with his latest work, he teamed up with the younger generation of artists and brought new impulses to Czech art. This important and neglected part of his work would need to be evaluated and naturally integrated into the overall context.<\/span><\/p>\n

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V p\u0159\u00edpad\u011b z\u00e1jmu o koupi origin\u00e1ln\u00edch d\u011bl V\u00e1clava Zykmunda, kontaktujte galerii. \/ If you are interested in buying original works by V\u00e1clav Zykmund, please contact the gallery.<\/div>\n
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