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Mark\u00e9ta Luska\u010dov\u00e1: Azylov\u00fd d\u016fm Chiswick Women\u00b4s Aid 1976 – 77<\/strong><\/p>\n\n\n\n (31. 8. – 7. 10. 2021) – prodlou\u017eeno do 18. 10. 2021<\/p>\n\n\n\n kur\u00e1torka: Nadia Rovderov\u00e1, text k v\u00fdstav\u011b: Anton\u00edn Dufek<\/strong><\/p>\n\n\n\n otev\u0159eno \u00fater\u00fd – \u010dtvrtek: 16 – 18 h.. nebo po p\u0159edchoz\u00ed telefonick\u00e9 domluv\u011b: +420 777 748 433<\/p>\n\n\n\n Mark\u00e9ta Luska\u010dov\u00e1: Azylov\u00fd d\u016fm Chiswick Women\u00b4s Aid 1976 – 77<\/strong><\/p>\n\n\n\n Poprv\u00e9, nejen v \u010cesk\u00e9 republice, ale jako celosv\u011btovou premi\u00e9ru, m\u00e1me tu \u010dest p\u0159edstavit fotografick\u00fd soubor Mark\u00e9ty Luska\u010dov\u00e9 z let 1976-77, z v\u016fbec prvn\u00edho azylov\u00e9ho domu pro t\u00fdran\u00e9 \u017eeny a d\u011bti v Lond\u00fdn\u011b. V dob\u011b vzniku se bohu\u017eel t\u00e9ma nesetkalo s n\u00e1le\u017eit\u00fdm ohlasem, \u010dasopisy sn\u00edmky neotiskly, spole\u010dnost nejevila o t\u00e9ma z\u00e1jem. P\u016fl stolet\u00ed pot\u00e9 se ukazuje, nakolik z\u00e1va\u017en\u00e9 a ignorovan\u00e9 t\u00e9ma to bylo a je. Lond\u00fdnsk\u00e9 nakladatelstv\u00ed CRB \/ Caf\u00e9 Royal Books vydalo v roce 2020 publikaci Chiswick Women\u2019s Aid 1976-77, kde teprve po 44 letech byly tyto fotografie Mark\u00e9ty Luska\u010dov\u00e9 v\u016fbec poprv\u00e9 publikov\u00e1ny. Sn\u00edmky se vyzna\u010duj\u00ed silnou empatii pro lidi v komplikovan\u00e9 a t\u00ed\u017eiv\u00e9 \u017eivotn\u00ed situaci. Na n\u011bkter\u00fdch fotografi\u00edch maj\u00ed na sob\u011b d\u011bti kartonov\u00e9 masky, kter\u00e9 ov\u0161em nebyly sou\u010d\u00e1st\u00ed hry. \u00da\u010delem bylo, aby otcov\u00e9 d\u011bt\u00ed nemohli na fotografi\u00edch poznat jejich obli\u010deje a zjistit tak, kde se nach\u00e1zej\u00ed. V t\u00e9 dob\u011b se v azylov\u00e9m dom\u011b, p\u016fvodn\u011b ur\u010den\u00e9m pro 42 lid\u00ed, t\u00edsnilo 140 \u017een a d\u011bt\u00ed. Zakladatelka domu dodr\u017eovala pravidlo, \u017ee \u017e\u00e1dnou \u017eenu, nebo d\u00edt\u011b nenech\u00e1 nikdy v t\u00edsni a v\u0161em poskytne ochranu. \u201cTyto sn\u00edmky jsou obzvl\u00e1\u0161t\u011b aktu\u00e1ln\u00ed dnes, kdy lockdown zp\u016fsobil dramatick\u00fd n\u00e1r\u016fst dom\u00e1c\u00edho n\u00e1sil\u00ed\u201d \u0159\u00edk\u00e1 autorka fotografi\u00ed. V\u00fdstavou chceme upozornit na p\u0159etrv\u00e1vaj\u00edc\u00ed probl\u00e9m a jej\u00ed sou\u010d\u00e1st\u00ed bude rovn\u011b\u017e beseda s odborn\u00edky na dan\u00e9 t\u00e9ma.<\/p>\n\n\n\n Nadia Rovderov\u00e1, srpen 2021<\/p>\n\n\n\n Chiswick Women\u2019s Aid Mark\u00e9ty Luska\u010dov\u00e9<\/strong><\/p>\n\n\n\n Brzy po p\u0159\u00edchodu do Anglie v roce 1975 vytvo\u0159ila Mark\u00e9ta Luska\u010dov\u00e1 report\u00e1\u017e z Asyloveho domu pro t\u00fdran\u00e9 \u017eeny a d\u011bti: Mark\u00e9ta Luska\u010dov\u00e1, Chiswick Women\u2019s Aid 1976-77. Kniha \u2013 sp\u00ed\u0161 bro\u017eura \u2013 vy\u0161la teprve loni v respektovan\u00e9 edici dokument\u00e1rn\u00edch soubor\u016f britsk\u00fdch fotograf\u016f z konce minul\u00e9ho stolet\u00ed Cafe Royal Books v n\u00e1kladu 500 ks. Redaktorem edice je Craig Atkinson. Trvalo tedy p\u0159es \u010dty\u0159icet let, ne\u017e fotografie mohly naj\u00edt sv\u00e9 publikum, i kdy\u017e jist\u011b hodn\u011b jin\u00e9 ne\u017e to, jemu\u017e byly p\u016fvodn\u011b ur\u010deny. Publikace s osmn\u00e1cti kvalitn\u00edmi reprodukcemi, bohu\u017eel bez textu, v\u011brn\u011b tlumo\u010d\u00ed tehdej\u0161\u00ed charakter fotografick\u00fdch pozitiv\u016f. Na webu autorka k fotografi\u00edm p\u0159idala koment\u00e1\u0159e, za n\u011b\u017e m\u016f\u017eeme b\u00fdt vd\u011b\u010dni a v\u00fdznam jej\u00ed story umoc\u0148uj\u00ed. V Chiswicku, \u010dtvrti v z\u00e1padn\u00edm Lond\u00fdn\u011b, byl toti\u017e v\u016fbec prvn\u00ed \u00fatulek pro t\u00fdran\u00e9 matky s d\u011btmi v Anglii. Musel tedy b\u00fdt jedn\u00edm z prvn\u00edch na sv\u011bt\u011b, a to plat\u00ed i o report\u00e1\u017ei o n\u011bm. Z autor\u010din\u00fdch koment\u00e1\u0159\u016f k jednotliv\u00fdm fotografi\u00edm se dozv\u00edd\u00e1me: \u201e\u00datulek byl p\u0159ipraven pro asi 40 \u017een a d\u011bt\u00ed, ale v dob\u011b, kdy jsem tam fotografovala tam \u017eilo 140 \u017een a d\u011bt\u00ed. R\u00e1no byla t\u011bla v\u0161ude.\u201c Dal\u0161\u00ed sn\u00edmky ukazuj\u00ed \u017eeny a d\u011bti r\u016fzn\u00fdch odst\u00edn\u016f pleti, smutn\u011b posed\u00e1vaj\u00edc\u00ed, ale tak\u00e9 p\u0159i obvykl\u00fdch d\u011btsk\u00fdch hr\u00e1ch. Pro d\u011bti \u017eij\u00edc\u00ed \u201ev tlup\u011b\u201c nebyl pobyt tak hrozn\u00fd, jako pro jejich matky. Pap\u00edrovou masku m\u00e1 ale jedno z d\u011bt\u00ed ne jako sou\u010d\u00e1st hry, ale aby je otec nemohl poznat. Na jin\u00e9m sn\u00edmku vid\u00edme d\u011bti hled\u00edc\u00ed ven za nepr\u016fst\u0159eln\u00fdm sklem. J\u00edt ven by bylo jist\u011b nebezpe\u010dn\u00e9. Fotografie na ob\u00e1lce zobrazuje po\u010detnou demonstraci s transparenty p\u0159ed \u00fatulkem. Zakladatelka Erin Pizzey, kter\u00e1 m\u011bla program otev\u0159en\u00fdch dve\u0159\u00ed, \u017e\u00e1dn\u00e9 matce s d\u011btmi neodm\u00edtla poskytnout asyl, a za to byla p\u0159edvol\u00e1na k soudu a obvin\u011bna z p\u0159epln\u011bn\u00ed domu a z poru\u0161ov\u00e1ni bezpe\u010dnostn\u00edch pravidel. Hned na po\u010d\u00e1tku sv\u00e9ho anglick\u00e9ho pobytu Luska\u010dov\u00e1 tedy prok\u00e1zala schopnost ud\u011blat \u201estory\u201c pro tisk (jedinou v jej\u00edm d\u00edle?), fotografie jsou v\u00fdsti\u017en\u00e9 a n\u00e1padit\u00e9, p\u0159\u00edb\u011bh je strhuj\u00edc\u00ed. Bohu\u017eel jej\u00ed pr\u00e1ce nebyla tehdy publikov\u00e1na. Autorka byla v obt\u00ed\u017en\u00e9 situaci: \u201ePr\u00e1ci jsem d\u011blala pro Magnum v letech 1976-1977, kdy\u017e jsem \u010dekala na\u0161eho Mat\u011bje. P\u00e1rala jsem se s t\u00edm \u0159adu m\u011bs\u00edc\u016f, skoro rok. D\u00edlem proto, \u017ee to byla prvn\u00ed pr\u00e1ce pro Magnum, d\u00edlem proto, \u017ee jsem si naivn\u011b myslela, \u017ee kdy\u017e fotografie budou siln\u00e9, tak to t\u011bm \u017eensk\u00fdm s d\u011btmi pom\u016f\u017ee. Magnum to pl\u00e1novalo distribuovat do dvan\u00e1cti zemi. Ka\u017edou fotografii jsem musela nazv\u011bt\u0161ovat dvan\u00e1ctkr\u00e1t. Skon\u010dila jsem s t\u00edm t\u00fdden p\u0159edt\u00edm, ne\u017e jsem \u0161la do porodnice. Po\u010d\u00edtala jsem, \u017ee honor\u00e1\u0159 za publikov\u00e1n\u00ed mi p\u0159inese n\u011bco jako mate\u0159skou, ale za \u010das jsem dostala dopis od Anny Obolenski, sekret\u00e1\u0159ky Magna, napsala: \u201esorry, story out of fashion\u201c. Nikdo to neotisknul. Dv\u011b nebo t\u0159i fotografie jsou ve sbirce Arts Council of Great Britain. Pozd\u011bji mal\u00fd \u010dasopis v Kalifornii Mother Jones jich p\u00e1r otisknul, o\u0159ezan\u00fdch a b\u00eddn\u011b vyti\u0161t\u011bn\u00fdch.\u201c (e-mail z 4. 4. 2020) Do v\u00fdtisku v Moravsk\u00e9 galerii Mark\u00e9ta vepsala: \u201eByla to zak\u00e1zka od Magna. M\u00e1 prvn\u00ed a posledn\u00ed.\u201c Zvl\u00e1\u0161\u0165 pak p\u0159ipsala: \u201eT\u00e9ma je to te\u010f stejn\u011b akutn\u00ed jako p\u0159ed lety, b\u011bhem \u201alockdown\u2018 dom\u00e1c\u00ed n\u00e1sil\u00ed zaznamenalo 200% n\u00e1r\u016fst.\u201c Soubor Luska\u010dov\u00e9 je jist\u011b jedn\u00edm z prvn\u00edch na toto st\u00e1le \u017ehav\u00e9 t\u00e9ma, a i kdy\u017e jde o zak\u00e1zku v dob\u011b vzniku nepublikovanou, m\u00e1 platnost p\u0159\u00edkladn\u00e9 fotografick\u00e9 story.<\/p>\n\n\n\n Anton\u00edn Dufek<\/p>\n\n\n\n <\/p>\n\n\n\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\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026.<\/p>\n\n\n\n V\u00fdstava Mark\u00e9ty Luska\u010dov\u00e9 byla podpo\u0159ena St\u00e1tn\u00edm fondem kultury. Celoro\u010dn\u00ed program Artinbox Gallery podpo\u0159ili: Ministerstvo kultury \u010cesk\u00e9 republiky, M\u011bstsk\u00e1 \u010d\u00e1st Praha 1.<\/p>\n\n\n\n <\/p>\n\n\n\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\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026.<\/p>\n\n\n\n V\u00fdstava obsahuje 20 origin\u00e1ln\u00edch fotografi\u00ed Mark\u00e9ty Luska\u010dov\u00e9: vysokost\u00e1l\u00fd pigmentov\u00fd tisk, bavln\u011bn\u00fd pap\u00edr Hahnem\u00fchle, signov\u00e1no a pops\u00e1no autorkou. Origin\u00e1ln\u00ed fotografie je mo\u017en\u00e9 zakoupit. Form\u00e1t 30 x 40 cm, cena: 45 000 K\u010d, Form\u00e1t 40 x 50 cm, cena: 54 000 K\u010d<\/p>\n\n\n\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\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026.<\/p>\n\n\n\n CURRICULUM VITAE MARK\u00c9TA LUSKA\u010cOV\u00c1<\/strong><\/p>\n\n\n\n 1944 narozena v Praze<\/p>\n\n\n\n 1958\u20131961 jeden\u00e1ctilet\u00e1 st\u0159edn\u00ed \u0161kola v Chrudimi a v Praze, maturita z \u010de\u0161tiny, ru\u0161tiny, matematiky a d\u011bjepisu<\/p>\n\n\n\n 1961\u20131967 studium sociologie kultury, Univerzita Karlova, Praha<\/p>\n\n\n\n 1966\u20131969 postgradu\u00e1ln\u00ed studium fotografie, FAMU, Praha<\/p>\n\n\n\n <\/p>\n\n\n\n PR\u00c1CE<\/strong><\/p>\n\n\n\n 1968 za\u010d\u00e1tek kari\u00e9ry fotografky na voln\u00e9 noze<\/p>\n\n\n\n Fotografie:<\/p>\n\n\n\n 1964\u20131972 Poutn\u00edci na Slovensku<\/p>\n\n\n\n 1967\u20131974 cyklus z horsk\u00e9 vesnice \u0160umiac na Slovensku<\/p>\n\n\n\n 1968 Jazzov\u00fd klub Reduta, Praha<\/p>\n\n\n\n 1970\u20131972 Divadlo za branou, Praha<\/p>\n\n\n\n 1972,73,1985+ Fotografov\u00e1n\u00ed v Irsku<\/p>\n\n\n\n 1992 <\/p>\n\n\n\n 1974\u20131975 Fotografov\u00e1n\u00ed pouli\u010dn\u00edch trh\u016f v Lond\u00fdn\u011b<\/p>\n\n\n\n 1974\u20132018 ve v\u00fdchodn\u00edm Lond\u00fdn\u011b, Spitalfields<\/p>\n\n\n\n 1976\u20131980 Nomine\u00e9 Photographer v Magnum Photo, Pa\u0159\u00ed\u017e<\/p>\n\n\n\n 1976\u20131977 Chiswick Women\u2019s Aid, 1. azylov\u00fd d\u016fm pro t\u00fdran\u00e9 \u017eeny a d\u011bti v Lond\u00fdn\u011b<\/p>\n\n\n\n 1975\u20131990 Lond\u00fdn\u0161t\u00ed pouli\u010dn\u00ed hudebn\u00edci<\/p>\n\n\n\n 1977 narodil se syn Matthew Emanuel<\/p>\n\n\n\n 1976\u20131980 fotografov\u00e1n\u00ed v severov\u00fdchodn\u00ed Anglii: Beaches and Juvenille Girl\u2019s Jazz Bands<\/p>\n\n\n\n 1986\u20132000 Citizen 2000, po\u0159ad stanice Channel 4 dokumentuj\u00edc\u00ed \u017eivot dvaceti d\u011bt\u00ed v Brit\u00e1nii<\/p>\n\n\n\n 2000 Durham Cathedral & Chorister School, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n 1998\u20132014 fotografov\u00e1n\u00ed d\u011bt\u00ed v \u010cesk\u00e9 republice<\/p>\n\n\n\n 1998\u20132020 fotografov\u00e1n\u00ed karneval\u016f v \u010cesk\u00e9 republice, zejm\u00e9na karneval\u016f skupiny Rozto\u010d, Roztoky<\/p>\n\n\n\n VYBRAN\u00c9 SAMOSTATN\u00c9 V\u00ddSTAVY<\/strong><\/p>\n\n\n\n 1971 Divadlo za branou, Praha, \u010ceskoslovensko (katalog Pout\u011b)<\/p>\n\n\n\n 1978 Side Gallery, Newcastle upon Tyne (+ Sirkka L. Kontinnen), Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n 1983\u20131984 Victoria and AIbert Museum, Lond\u00fdn. Velk\u00e1 Brit\u00e1nie (katalog Pilgrims)<\/p>\n\n\n\n 1984 Museum of Modern Art, Oxford, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n 1986 Ksiaz, Polsko<\/p>\n\n\n\n 1989 Museum of Childhood, Bethnal Green, Lond\u00fdn, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n 1989 Galer\u00eda Visor, Valencie, \u0160pan\u011blsko<\/p>\n\n\n\n 1991 Whitechapel Gallery, Lond\u00fdn, Velk\u00e1 Brit\u00e1nie (katalog Photographs from Spitalfields)<\/p>\n\n\n\n 1991 Nottingham Castle, Nottingham<\/p>\n\n\n\n 1991 GHMP, Praha, \u010ceskoslovensko (katalog Poutn\u00edci) <\/p>\n\n\n\n 1992 Ayuntamiento de Murcia, posl\u00e9ze Madrid, Salamanca, J\u00e9rez, Palma de Mallorca, Santa Cruz de Tenerife, \u0160pan\u011blsko<\/p>\n\n\n\n 1994 Starom\u011bstsk\u00e1 radnice, Praha, \u010cesk\u00e1 republika<\/p>\n\n\n\n 1994 Stills Gallery, Sydney, Austr\u00e1lie<\/p>\n\n\n\n 1994 Divadlo Karla Pippicha, Chrudim, \u010cesk\u00e1 republika<\/p>\n\n\n\n 1995 V\u00fdchodo\u010desk\u00e1 galerie, Pardubice, \u010cesk\u00e1 republika<\/p>\n\n\n\n 1996 Galerie 4, Cheb, \u010cesk\u00e1 republika<\/p>\n\n\n\n 1998 Stills Gallery, Sydney, Austr\u00e1lie (katalog Unknown Remembered)<\/p>\n\n\n\n 1999 Open Eye Gallery, Liverpool, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n 1999 EIi Lemberger Museum of Photography, Tel Hai, Galilea, Izrael<\/p>\n\n\n\n 2000 Pra\u017esk\u00fd d\u016fm fotografie, Praha, \u010cesk\u00e1 republika<\/p>\n\n\n\n 2001 Dom fotografie, Poprad, Slovensko<\/p>\n\n\n\n 2001 The British Council, Praha, \u010cesk\u00e1 republika<\/p>\n\n\n\n 2001 Galerie Fait et Cause, Pa\u0159\u00ed\u017e, Francie<\/p>\n\n\n\n 2001 Focus Gallery, Lond\u00fdn, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n 2004 Muzeum Sob\u011bslav, \u010cesk\u00e1 republika<\/p>\n\n\n\n 2011 St\u0159edo\u010desk\u00e9 muzeum v Roztok\u00e1ch, \u010cesk\u00e1 republika (katalog O smrti, o kon\u00edch a jin\u00fdch lidech)<\/p>\n\n\n\n 2011 Michigan State University Museum, East Lansing, USA<\/p>\n\n\n\n 2013 Piper Gallery (+ Francis West), Lond\u00fdn, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n 2014 National Czech and Slovak Museum and Library, Cedar Rapids, USA<\/p>\n\n\n\n 2014 Leica Gallery, Praha (katalog: Mark\u00e9ta Luska\u010dov\u00e1 Fotografie 1964\u20132014)<\/p>\n\n\n\n 2015 Gal\u00e9ria 19, Bratislava, Slovensko<\/p>\n\n\n\n 2016 Latitude, Huelva, \u0160pan\u011blsko<\/p>\n\n\n\n 2016 Mus\u00e9e International du Carnaval et du Masque, Binche, Belgie<\/p>\n\n\n\n 2017 \u010cesk\u00e9 centrum Pa\u0159\u00ed\u017e, Francie<\/p>\n\n\n\n 2017 Palacio de Pimentel, Valladolid, \u0160pan\u011blsko (katalog Primero y Ultimo)<\/p>\n\n\n\n 2018 \u010cesk\u00e9 centrum Mnichov, N\u011bmecko<\/p>\n\n\n\n 2018\u20132019 Tate Britain, Lond\u00fdn, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n 2019 Martin Parr Foundation , Bristol, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n 2020 Fiducia, Ostrava, \u010cesk\u00e1 republika (O smrti, o kon\u00edch a jin\u00fdch lidech)<\/p>\n\n\n\n 2020 Kestle Barton Gallery, Helston, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n VYBRAN\u00c9 SKUPINOV\u00c9 V\u00ddSTAVY<\/strong><\/p>\n\n\n\n 1969 Fotografick\u00e9 cykly a seri\u00e1ly, Obecn\u00ed d\u016fm, Praha, \u010cesk\u00e1 republika<\/p>\n\n\n\n 1972 T\u0159i fotografov\u00e9, Galerie um\u011bn\u00ed Roudnice nad Labem (+ Ivo Gil, Pavel \u0160techa), \u010cesk\u00e1 republika<\/p>\n\n\n\n 1975 Women of Photography, San Francisco MOMA, San Francisco, USA<\/p>\n\n\n\n 1983 Personal Choice: A Celebration of Twentieth Century Photographs, Victoria and Albert Museum, Lond\u00fdn, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n 1985 Through the Looking Glass, Barbican, Lond\u00fdn, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n 1987 Three British Photographers (spole\u010dn\u011b s Martinem Parrem a Chrisem Killipem), Mexico City, Mexiko<\/p>\n\n\n\n 1990 Spi\u0161sk\u00e9 muzeum (+ Peter \u017dupn\u00edk, Janusz Moniatowicz), Levo\u010da, Slovensko<\/p>\n\n\n\n 1993 An Historical Survey, Museum of Modern Art. New York, NY, USA<\/p>\n\n\n\n 1995 Luz y Tiempo, Centro Cultural del Arte contemporaneo, Mexico City, Mexiko<\/p>\n\n\n\n 1995 Der Geduldige Planet, Curych, \u0160v\u00fdcarsko<\/p>\n\n\n\n 2000 Photography and Time, Victoria and Albert Museum, Lond\u00fdn, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n 2002 \u010cesk\u00e1 a Slovensk\u00e1 fotografia 80. a 90. rokov 20. storo\u010dia, Dom umenia, Bratislava, Slovensko<\/p>\n\n\n\n 2003 The Cathedral (s Johnem Kippinem a Johnem Riddy), Baltic Centre for Contemporary Art, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n 2003 Les choix d’Henri Cartier\u2013Bresson, Fondation Henri Cartier\u2013Bresson, Pa\u0159\u00ed\u017e, Francie<\/p>\n\n\n\n 2006 Closed Eyes, Brandts Museet for Fotokunst, Odense, D\u00e1nsko<\/p>\n\n\n\n 2008 Fotogenie identity, Pam\u011b\u0165 \u010desk\u00e9 fotografie, Pra\u017esk\u00fd d\u016fm fotografle, Praha, \u010cesk\u00e1 republika<\/p>\n\n\n\n 2010\u20132011 Pictures by Women: A History of Modern Photography, Museum of Modern Art, New York, USA<\/p>\n\n\n\n 2012 Another London, Tate Britain, Lond\u00fdn, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n 2014 Witches and Wicked Bodies, Scottish National Gallery, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n 2016 Feminine!, Artinbox, Praha, \u010cesk\u00e1 republika<\/p>\n\n\n\n 2016\u20132017 In Your Dream You Saw a Way to Survive and You Were Filled with Joy, putovn\u00ed v\u00fdstava, Hayward Gallery, Lond\u00fdn, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n 2017\u20132018 Collected Shadows, putovn\u00ed v\u00fdstava, Hayward Gallery, Lond\u00fdn, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n 2018 Women by Women, Baltic, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n 2018 Modern Landscape, Barbara Hepworth Museum, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n 2019 Distinctly, Open Eye Gallery, Liverpool, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n 2019 Seaside Photographed, Turner Contemporary, Margate, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n FOTOGRAFIE VE VE\u0158EJN\u00ddCH SB\u00cdRK\u00c1CH<\/strong><\/p>\n\n\n\n Archive of Modern Conflict, Lond\u00fdn, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n The Collection of the Arts Council of Great Britain, Lond\u00fdn, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n Muzeum um\u011bn\u00ed a designu, Bene\u0161ov, \u010cesk\u00e1 republika<\/p>\n\n\n\n Arthur Andersen, Lond\u00fdn, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n Biblioth\u00e8que nationale de France, Pa\u0159\u00ed\u017e, Francie<\/p>\n\n\n\n Brandts Museet for Fotokunst, D\u00e1nsko<\/p>\n\n\n\n Bruce Bernard Collection, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n Clifford Chance, Lond\u00fdn, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n Eli and Edythe Broad Art Museum, Michigan State University, East Lansing, USA<\/p>\n\n\n\n Eric Franck Fine Art Collection, Lond\u00fdn, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n Foundation Cultural, Mexico City, Mexiko<\/p>\n\n\n\n FRAC Rhone-Alpes, Francie<\/p>\n\n\n\n George Eastman Museum Collection, Rochester, USA<\/p>\n\n\n\n IVAM, Valencie, \u0160pan\u011blsko<\/p>\n\n\n\n Israel Museum, Jeruzal\u00e9m, Izrael<\/p>\n\n\n\n James Hyman Collection, Lond\u00fdn, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n Martin Parr Foundation, Bristol, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n Michigan State University Museum, East Lansing, USA<\/p>\n\n\n\n Moravsk\u00e1 galerie, Brno, \u010cesk\u00e1 republika<\/p>\n\n\n\n Museum of Art, Ein Harod, Izrael<\/p>\n\n\n\n Mus\u00e9e International du Carnaval et du Masque, Binche, Belgie<\/p>\n\n\n\n Museum of Modern Art New York, USA<\/p>\n\n\n\n National Gallery of Australia, Canberra, Austr\u00e1lie<\/p>\n\n\n\n National Gallery, Washington, USA<\/p>\n\n\n\n National Gallery of Ireland, Irsko<\/p>\n\n\n\n National Media Museum, Bradford, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n National Portrait Gallery, Lond\u00fdn, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n Royal Festival Hall, Lond\u00fdn, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n Salamanca University, Salamanca, \u0160pan\u011blsko<\/p>\n\n\n\n San Francisco Museum of Modern Art, San Francisco, USA<\/p>\n\n\n\n Side Gallery, Newcastle upon Tyne, Velk\u00e1 Brit\u00e1nie \u00b7<\/p>\n\n\n\n Slovensk\u00e1 n\u00e1rodn\u00e1 qal\u00e9ria, Bratislava, Slovensko<\/p>\n\n\n\n Spi\u0161sk\u00e9 museum, Levo\u010da, Slovensko<\/p>\n\n\n\n Stedelijk Museum Amsterdam, Nizozemsko<\/p>\n\n\n\n Tate Britain, Lond\u00fdn, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n The British Council, Valencie, \u0160pan\u011blsko<\/p>\n\n\n\n The J. Paul Getty Museum, Los Angeles, USA<\/p>\n\n\n\n Um\u011bleckopr\u016fmyslov\u00e9 muzeum, Praha, \u010cesk\u00e1 republika<\/p>\n\n\n\n University of Newcastle, Austr\u00e1lie<\/p>\n\n\n\n Victoria and Albert Museum, Lond\u00fdn, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n Wilson Centre for Photography, Lond\u00fdn, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n VYBRAN\u00c9 PUBLIKACE A \u010cL\u00c1NKY<\/strong><\/p>\n\n\n\n Camera, Luzern, 8\/1969, text Anna F\u00e1rov\u00e1<\/p>\n\n\n\n Fotografie, Praha, 9\/1969, text Karel Dvo\u0159\u00e1k<\/p>\n\n\n\n Poutn\u00edci, Divadlo za branou, Praha1971, text v\u00fdstavn\u00edho katalogu Josef Topol<\/p>\n\n\n\n Creative Camera, Lond\u00fdn, 10\/1971<\/p>\n\n\n\n Camera, Luzern, 4\/1974, text Allan Porter<\/p>\n\n\n\n DU Magazine, Curych, 12\/1974<\/p>\n\n\n\n The British Image II, Lond\u00fdn, 1976<\/p>\n\n\n\n Camera Mainichi, Tokio, 12\/1976<\/p>\n\n\n\n Aperture 91, New York, 1983, text Mark Haworth-Booth<\/p>\n\n\n\n Creative Camera, Lond\u00fdn, Photographs from Ireland, 11\/1983<\/p>\n\n\n\n Pilgrims, V & A Museum, Lond\u00fdn, katalog k v\u00fdstav\u011b 1983\/1984, text Mark Haworth-Booth<\/p>\n\n\n\n Pilgrimage of Faith, New Society, Lond\u00fdn, 16. 2. 1984, text Peter Fuller<\/p>\n\n\n\n Pilgrims, The Arts Council, Lond\u00fdn, katalog k putovn\u00ed v\u00fdstav\u011b 1985, text John Berger, Joanna Drew<\/p>\n\n\n\n Creative Camera, Lond\u00fdn, cel\u00e9 \u010d\u00edslo 1\/1987, text Tom Evans, Josef Topol<\/p>\n\n\n\n Photographs from Spitalfields, The Whitechapel Art Gallery 1991, katalog k v\u00fdstav\u011b, Lond\u00fdn, texty: Mark Holborn, Chris Killip, David Widgery<\/p>\n\n\n\n Independent Magazine, Lond\u00fdn 3\/1991, text Bruce Bernard<\/p>\n\n\n\n Poutn\u00edci, GHMP, D\u016fm u kamenn\u00e9ho zvonu, Praha, 1991, text v katalogu Marie Judlov\u00e1, Jitka Hauptvogelov\u00e1<\/p>\n\n\n\n Creative Camera, Lond\u00fdn 10\u201311\/1991, text Gerry Badger<\/p>\n\n\n\n Unknown Remembered (Photographs of Children 1968\u20131998), Stills Galery, Sydney, 1998, text Colin Osman<\/p>\n\n\n\n Mark\u00e9ta Luska\u010dov\u00e1 \u2013 Monografie, Torst, Praha 2001, text Gerry Badger, Marie Klime\u0161ov\u00e1<\/p>\n\n\n\n Moravsk\u00e1 Galerie, Brno, 2000, text v katalogu Anton\u00edn Dufek<\/p>\n\n\n\n B+W photography, USA, 2009, text Dan Brierly<\/p>\n\n\n\n O smrti, o kon\u00edch a jin\u00fdch lidech, St\u0159edo\u010desk\u00e9 muzeum Roztoky u Prahy, 2011, text v katalogu Howard Bossen, Robert Silverio<\/p>\n\n\n\n Come Carnival: Entwined and in Play, Marketa Luskacova and Francis West, Piper Gallery, Lond\u00fdn, 2013, text v katalogu Elizabeth Perrotte<\/p>\n\n\n\n Mark\u00e9ta Luska\u010dov\u00e1 (Fotografie 1964\u20132014), Leica Gallery, Praha, texty Mark\u00e9ta Luska\u010dov\u00e1, Irena Murray<\/p>\n\n\n\n To Remember (London Street Musicians 1975\u20131990), 2016, texty John Berger, Howard Bossen, Mark\u00e9ta Luska\u010dov\u00e1<\/p>\n\n\n\n Mark\u00e9ta Luska\u010dov\u00e1, Primero y Ultimo, Palacio Pimentel, Valladolid, 2017, text katalogu Stanislav \u0160koda<\/p>\n\n\n\n Tenderness of True, Black + White Photography, Cool, Creative and Contemporary, Lond\u00fdn, 7\/2017, text Alex Schneideman<\/p>\n\n\n\n Financial Times Weekend 17\/11, 2018, text Rachel Spence<\/p>\n\n\n\n \u201cBy the Sea\u201d Photographs from NorthEast 1976\u20131980 (\u00favod Mark\u00e9ta Luska\u010dov\u00e1, RRB Photobooks, Bristol, 2019)<\/p>\n\n\n\n Chiswick Women\u2019s Aid, Cafe Royal Books, 2020, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n Ireland, Cafe Royal Books, 2021, Velk\u00e1 Brit\u00e1nie<\/p>\n\n\n\n New Perspectives, National Gallery of Ireland, strany 72\u201373, 2021, Irsko<\/p>\n\n\n\n Fotograf, 2\/2021, text Anton\u00edn Dufek<\/p>\n\n\n\n Foto, 6\/2021, text Anton\u00edn Dufek<\/p>\n\n\n\n <\/p>\n","protected":false},"excerpt":{"rendered":" […]<\/p>\n","protected":false},"author":3,"featured_media":4454,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/www.artinbox.cz\/index.php?rest_route=\/wp\/v2\/posts\/4448"}],"collection":[{"href":"https:\/\/www.artinbox.cz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artinbox.cz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artinbox.cz\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artinbox.cz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4448"}],"version-history":[{"count":11,"href":"https:\/\/www.artinbox.cz\/index.php?rest_route=\/wp\/v2\/posts\/4448\/revisions"}],"predecessor-version":[{"id":4656,"href":"https:\/\/www.artinbox.cz\/index.php?rest_route=\/wp\/v2\/posts\/4448\/revisions\/4656"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artinbox.cz\/index.php?rest_route=\/wp\/v2\/media\/4454"}],"wp:attachment":[{"href":"https:\/\/www.artinbox.cz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4448"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artinbox.cz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4448"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artinbox.cz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4448"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"Mark\u00e9ta](\"https:\/\/www.artinbox.cz\/wp-content\/uploads\/2021\/08\/Marketa-Luskacova_foto_by_Nada_Rovderova_1999-678x1024.jpg\")
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<\/figure>\n\n\n\n