JCHA CJCH CENA JIND ICHA CHALUPECKÉHO PATNÁCT LET JIND ICH CHALUPECK AWARD FIFTEEN YEARS

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1 JCHA CJCH CENA JIND ICHA CHALUPECKÉHO PATNÁCT LET JIND ICH CHALUPECK AWARD FIFTEEN YEARS

2 ISBN

3 Je jistû jedním z nejnaléhavûj ích úkolû moderního umûlce vystoupit z estetického zakletí, dûlat umûní tak, aby urãit m zpûsobem se naplàovalo Ïivotem a naplàovalo Ïivot. It is certainly only of the modern artist s most urgent tasks to free himself from the aesthetic spell and make art that is somehow inspired by life and which inspires life in return. Jindfiich Chalupeck

4 5 CHTùL BYCH SE ZMÍNIT o svém prvním a svém posledním setkání s Jindfiichem Chalupeck m. Jeho jméno jsem znal od nepamûti. Vlastnû uï asi jako tfiináctilet chlapec jsem ãetl Chalupeckého eseje v melantri sk ch Listech a znal díla ãlenû Skupiny 42, jejímï byl intelektuálním motorem. Velmi brzo, nûkdy v hlubok ch padesát ch letech, jsem ho vyhledal a mám tuto první náv tûvu u nûj ve velmi Ïivé pamûti. Vzpomínám si dokonce, Ïe u nûj tehdy byli je tû dva jiní, na mnû nezávislí hosté oba uï nejsou naïivu. Byli to Jifií Padrta a Miroslav Lamaã, dva profesionální v tvarní teoretici, ktefií tenkrát sice vefiejnû pûsobili, ale byli do té míry chytfií, Ïe vûdûli, nakolik kontakt s Chalupeck m má pro nû daleko vût í cenu neï styky s oficiálními socialistick mi umûlci ãi ãiniteli. Pro mne bylo to setkání vzru ujícím pramenem pfiekvapiv ch, zkratkovit ch, nûkdy i metaforick ch a dokonce aï bonmotovit ch formulací, jimiï ná hostitel popisoval nûkteré úkazy a jevy pfiedev ím kulturní, umûlecké, nejprve literární, pozdûji i v tvarné. Chalupeck nevystupoval jako typick profesionál. Nebyl ani vy kolen m literárním kritikem a filosofem, dokonce ani umûleck m historikem s tradiãní kariérou v oboru, provázenou profesionální hant rkou. Byl v nejlep ím slova smyslu samorostl ; v jeho slovech byla jakási zvlá tní Ïivost a velice mû oslovoval. Potom jsem Jindfiicha Chalupeckého vídal ãasto a nav tûvoval ho bûhem dlouh ch desetiletí; mohu snad fiíci, Ïe jsme byli i pfiátelé. Naposledy jsem se s ním setkal nûkdy ke konci jara roku 1990, kdyï uï byl tûïce nemocn, krátce pfied jeho smrtí. LeÏel v nemocnici Na Homolce a spolu s Joskou Skalníkem jsme ho nav tívili, abychom mu pfiedestfieli my lenku ceny, která by byla udûlována mlad m v tvarníkûm a nesla by jeho jméno. Nezávisle na nás s ním o tom také jednali Theodor Pi tûk a Jifií Koláfi. S návrhem souhlasil a je dûleïité, Ïe se Cena Jindfiicha Chalupeckého ujala a osvûdãila. Dostávají ji mladí nadaní umûlci, ktefií vskutku jiï nûco dokázali. Vznik Ceny Jindfiicha Chalupeckého povaïuji za velmi dobr, bohulib poãin, drïím jí palce a chodím rád, pokud mi to ãas dovolí, na její kaïdoroãní udûlování a v stavy jejích laureátû. Pfieji Spoleãnosti Jindfiicha Chalupeckého, aby nadále jmenovala uváïlivû ãleny porot, které peãují o v bûr kandidátû a urãují z nich jako drïitele Ceny toho nejlep ího. V sledkûm soutûïe pfieji dobrou budoucnost, pfiinejmen ím tak dobrou, jaká je jejich minulost. PovaÏuji za neobyãejnû Èastné, Ïe Cena sv m názvem znovu a znovu pfiipomíná nezapomenutelnou osobnost Jindfiicha Chalupeckého. Václav Havel I WOULD LIKE TO MENTION my first and last meetings with Jindfiich Chalupeck. I had known his name since I could remember; as a thirteen-year-old boy I read Chalupeck s essays in the Journal of the Melantrich publishing house, and I also knew the work of Group 42 which he provided with the intellectual drive. Soon on, at some point in the darkest days of the 1950s, I called on him, and still keep vivid memories of that first visit. I even remember that there were two other guests there, independently of me neither of whom are alive today. They were Jifií Padrta and Miroslav Lamaã, two professional art theoreticians who, although active in public, were clever enough to know that contact with Chalupeck was much more valuable to them than relations with official socialist artists and functionaries. For me, the meeting was an exciting source of surprising, condensed, sometimes metaphorical and even witty formulations with which our host described certain phenomena primarily cultural and artistic ones, initially in literature, then in visual art. Chalupeck didn t behave as a typical professional; he wasn t a formally trained literary critic and philosopher, nor was he an art historian with a traditional career in the field using a professional jargon. He was, in the best sense of the word, self-made; in his words there was a special kind of liveliness and I strongly identified with what he said. Subsequently I often saw Jindfiich Chalupeck, visiting him over several decades. I may say that we were close friends. It was in the late spring 1990 when I saw him for the last time. At that time he was seriously ill and died shortly after my visit. He lay in Na Homolce Hospital, and Joska Skalník and I visited him in order to convey him the idea of a prize that would be awarded to young artists and bear his name. Independently of us, Theodor Pi tûk and Jifií Koláfi also discussed this with him. He agreed to the proposal, and it is important that the Jindfiich Chalupeck Award was established and found its place. Young and talented artists have been awarded with it, who have proved truly capable. I consider the setting up of the Jindfiich Chalupeck Award a good and virtuous deed; I wish it luck and, whenever time allows, I enjoy attending the annual award-giving and seeing the exhibitions staged by its winners. I hope that the Jindfiich Chalupeck Association will continue to carefully nominate the members of the juries in charge of choosing the candidates and making the best one the Award winner. I wish the competition results a future that is at least as good as their past. I consider it extremely fortunate that with its name, the Award provides a constant reminder of the unforgettable personality of Jindfiich Chalupeck. Václav Havel

5 6 KDYÎ JSEM SE PO LETECH mohl svobodnû navracet z PafiíÏe do Prahy patfiila jedna z m ch prvních vizitací Jindfiichu Chalupeckému. Vypravil jsem se za ním do nemocnice Na Homolce. Bylo mi tûïko, kdyï jsem seznal, Ïe se jiï bohuïel louãí se Ïivotem. Pomoci mu nebylo, tak jsme spolu s Václavem Havlem a Theodorem Pi tûkem uvaïovali, jak mu udûlat radost. Vymohli jsme si u nûj souhlas k tomu, aby byla zaloïena cena pro mladé umûlce, nesoucí jeho jméno. S Pi tûkem jsme dali dohromady její stanovy, z nichï kromû jiného vypl valo, Ïe laureáta kaïd m rokem vybere nezávislá porota, pfiedstaví se vefiejnosti osobní v stavou v Praze a hlavnû mu bude zaji tûn nûkolikamûsíãní pobyt v zahraniãí, jehoï tvûrãí program si urãí sám. Smysl ceny odpovídal Chalupeckého názoru, Ïe pro slibné talenty je nezbytné pfiekroãit co nejdfiíve práh domova a rozhlédnout se po souãasném svûtû. Pan prezident se s na ím návrhem ztotoïnil a pfiipojil svûj podpis k zakládající listinû Spoleãnosti Jindfiicha Chalupeckého a jeho ceny. I kdyï se pfiiznávám, Ïe nejsem pfiíznivcem vyznamenávání umûlcû, pfiipadal mi zvolen zpûsob podpory umûleckého mládí rozumn a úãeln. V dané chvíli jsem uznal, Ïe je tfieba povzbudit po dlouh ch letech izolace na í zemû od okolního svûta mladé umûlce k cestám do zahraniãí a zbavit je nebezpeãn ch sklonû k zápecnictví. Ne lo zdaleka jen o roz ífiení obzoru v umûlecké orientaci, ale snad je tû více o získávání bezprostfiedních zku eností ze Ïivota v jin ch zemích, které otevírají z rûzn ch úhlû pohled na pfiítomnost. Jak jsem se sám pfiesvûdãil, záleïí na kaïdém, jak podobné pfiíleïitosti vyuïije. Nezbavuje ov em Ïádného umûlce osobní odpovûdnosti za sebe a vlastní tvorbu a v tom mu Ïádná cena ani jiná podpora nemûïe pomoci. Dnes se jiï mûïeme ohlíïet na tvûrãí v sledky tûch, ktefií Cenu Jindfiicha Chalupeckého získali. Potvrzují, Ïe cena svûj úãel plní a její zaloïení bylo oprávnûné. Chci vûfiit, Ïe podobn m povzbuzením bude i pro její pfií tí laureáty. Hlavnû jsem rád, Ïe pokaïdé pfiipomíná jméno Jindfiicha Chalupeckého, kter uãinil tolik pro celé na e novodobé umûní. Jifií Koláfi WHEN, AFTER MANY YEARS, I could pass freely from Paris to Prague, one of the first people I came to see was Jindfiich Chalupeck. I set out to visit him at the Na Homolce Hospital. I felt heavy-hearted when I learned that he was sadly passing away. There was nothing anyone could do to help him, so Václav Havel, Theodor Pi tûk and I began thinking how we could cheer him up. We secured his consent to establish an award for young artists that would bear his name. Pi tûk and I put together its constitution stating that the winner would be chosen every year by an independent jury. Winners would then make a public presentation with a solo exhibition in Prague, and above all be provided with an opportunity to spend several months abroad, deciding their creative program themselves. The idea of the award corresponded to Chalupeck s opinion that for promising talents, it is necessary to cross one s threshold as soon as possible, and survey the contemporary world. President Havel identified with our proposal, and added his signature to the founding charter of the Jindfiich Chalupeck Association and its award. Although I confess that I am not an advocate of awarding artists with prizes, the means of supporting artistic youth that we chose seemed sensible and practical to me. At that given moment, I acknowledged that it was necessary, after so many years of our country s isolation from the outside world, to encourage young artists to travel abroad and get themselves rid of dangerous inclinations to parochialism. It was not at all simply a matter of broadening the horizons of one s artistic orientation, but possibly, even more a matter of acquiring direct experiences of life in other countries that open up a view of the present from various angles. As I have found out for myself, it depends on each individual as to how they make use of similar opportunities. It does not, of course, get any artist rid of responsibility for oneself and one s own work; in this, no prize or other form of support can help. Today, we look back at the results of those who have won the Jindfiich Chalupeck Award. Their results confirm that the award has fulfilled its purpose and that its founding has been justified. I would like to believe that it will provide similar encouragement to future winners, as well. Above all, I am glad that every year, it recalls the name of Jindfiich Chalupeck, who did so much for the whole of Czech modern art. Jifií Koláfi

6 7 SEDùL JSEM NA OKRAJI LÒÎKA a na dlani, kterou jsem podpíral záda nemocného, jsem cítil zmûè drátkû a trubiãek. Pokoj byl pln bezmoci, utrpení a resignace. Mûl jsem okamïit pocit, Ïe musím nûco fiíci nebo udûlat, co by nám obûma pomohlo zvládnout tísnivou situaci. Vzpomnûl jsem si na priority Chalupeckého zájmû. Patfiilo mezi nû permanentní sledování nejmlad ích umûlcû. Vidûl v nich nadûji ãeského umûní, a proto do poslední doby nav tûvoval jejich ateliéry. Pane Chalupeck, souhlasil byste s tím, aby byla s Va ím jménem spojena soutûï mlad ch umûlcû? Z jeho tváfie byl patrn náznak potû eného souhlasu. Pfií tí tfii dny jsme vûnovali rozhovorûm o tom, jak by mûly b t formulovány podmínky a cíle soutûïe. S v sledky jsem se rozjel do Lán k Václavu Havlovi a informoval telefonicky Jifiího Koláfie do PafiíÏe. Oba jeho dávní pfiátelé bez váhání potvrdili, Ïe se s návrhem ztotoïàují a pfiipojují k nûmu svá jména. Pfiiznám se, Ïe jsem se pûvodnû snaïil vytrhnout Jindfiicha Chalupeckého ze stavu odevzdanosti, upoutat jeho zájem a pfiidrïet ho k Ïivotu. Dnes jsem tasten, kdyï vidím, Ïe se my lenka okamïiku ujala, nese své plody a získává na váïnosti. NejenÏe pomáhá splácet dluh, kter má celá na e kulturní obec vûãi Jindfiichu Chalupeckému, ale zároveà usnadàuje nejmlad í generaci v tvarn ch umûlcû vstupovat do souvislostí svûtového umûní. Theodor Pi tûk I SAT ON THE EDGE OF A HOSPITAL BED, and in the palm of my hand which supported the patient s back I felt a tangle of wires and tubes. The ward was filled with helplessness, suffering and resignation. I was struck by the feeling that I had to say or do something that would help us both to cope with dismay. I recalled the priorities of Chalupeck s interests, which included permanently following youngest artists. In them, he saw the hope of Czech art, which is why he visited their studios until the very last. Mr Chalupeck, would you agree to having your name associated with a competition for young artists? From his expression, there was a clear sign of satisfied agreement. Next three days, we spent discussing what the formulated conditions and aims of the competition should be. I brought the results with me to Václav Havel at Lány, and informed Jifií Koláfi in Paris by telephone. Both of these old friends of Chalupeck s unhesitatingly confirmed that they identified with the proposal and would add their names to it. I confess that my original aim was to snap Jindfiich Chalupeck out of his state of resignation, to attract his attention and keep him alive. Nowadays, I am glad to see that the idea immediately took root and continues to acquire ever greater authority. It not only helps repay the debt that the entire Czech cultural community owes to Jindfiich Chalupeck, but it also enables the youngest generation of artists to enter the context of international art. Theodor Pi tûk

7 8 MY LENKA NA OSLAVU ÎIVOTA a vlivu Jindfiicha Chalupeckého vznikla bûhem opojn ch a vzru ujících dní roku 1989 a 1990, které se dnes zdají b t tak vzdálené. Chalupeck byl váïnû nemocen. Ledvinovou chorobou trpûl uï v polovinû 80. let, kdy se mnû a mému manïelovi Williamu Luersovi, kter byl v té dobû americk m velvyslancem v Praze, dostalo cti se s ním seznámit. Pfiedstavil nám ho Jifií etlík, dal í velká postava ze svûta umûní. Vzpomínám, jak jsem jezdila do PafiíÏe a Vídnû, abych pro Jindfiicha Chalupeckého obstarala západní léky bez lékafiského pfiedpisu. Lékárník mi je vïdycky prodal, kdyï jsem mu vysvûtlila, Ïe jsou pro muïe star ího 55 let, kter nedostane západní léky, protoïe uï státu nepfiiná í Ïádn uïitek. Vûdûli jsme, Ïe v komunistickém âeskoslovensku, uzavfieném pfied ostatním svûtem, jsou mezi umûlci nezávislí myslitelé a skvûlí lidé. Chalupeck inspiroval mladé umûlce, aby se snaïili dostat z uzavfieného prostoru do svobodnûj ího svûta, aby svûj talent vyuïívali k tvorbû, pfiestoïe svût, kter je obklopoval, byl temn a ediv a jejich budoucnost se tehdy zdála nejistá. Nanejv vhodn m zpûsobem, jak uctít jeho památku, se zdálo b t zaloïení ceny a stipendia, které by byly udûlovány kaïdoroãnû mladému umûlci do 35 let. Chalupeckého cena, spojená se stipendiem, se stala nejprestiïnûj ím ocenûním pro mladé umûlce v âeské republice. Podle jejího vzoru byla vytvofiena Cena Oskara âepana na Slovensku a obdobné programy v Makedonii, Chorvatsku, Kosovu, Srbsku a âerné Hofie. V roce 2005 plánujeme roz ífiení ceny pro mladé umûlce do Slovinska a Bosny a Hercegoviny. Pfiáním na í nevládní americké organizace bylo pfiivést âechoslováky, pozdûji âechy a Slováky, donedávna uzamãené v jejich zemi, do umûlecké kolonie, kde získají nové zku enosti a kde jejich pfiítomnost bude nûãím IT WAS DURING THOSE HEADY EXCITING DAYS in 1989 and 1990 that seem so distant now that the idea of celebrating the life and influence of a great art historian, Jindfiich Chalupeck, found its genesis. He was very ill with a kidney disease, and had been ever since we had the privilege of meeting him in the mid-80s when my husband, William Luers, was the American Ambassador to Prague. Another grand man of the arts, Jifií etlík introduced him to us. Iremember going to Paris and Vienna to get him Western medicine without a doctor s prescription. The pharmacist always sold it to me when I explained that since he was over 55, he was not allowed Western medicine, because he was no longer useful to the State! We knew then that independent thinkers and fascinating people occupied the artistic space in the closed communist Czechoslovakia (âssr). Chalupeck inspired the young artist to continue to enter that freer space and express their talents no matter how dark and gray the outside was for them nor how difficult their future seemed at that point. Therefore, it seemed entirely appropriate and fitting to honor his memory by creating a fellowship and prize each year for a visual artists under the age of 35. The Chalupeck Award has become the most prestigious award for young artists in the Czech Republic and the award of fellowship has been replicated in Slovakia as the Oskar âepan Award and in Macedonia, Croatia, Kosovo and Serbia & Montenegro. We are planning to expand the young Artist Award to Slovenia and Bosnia & Herzegovina in Part of our vision as an American NGO The Foundation for a Civil Society was to bring the landlocked Czechoslovaks, later Czechs and Slovaks, to an artistic colony where their experience would be unique and their presence would be unprecedented. The Headlands Center for the Arts in Sausalito, California is on a bluff

8 9 zcela nov m. Headlands Center for the Arts v Sausalitu v Kalifornii leïí na pobfieïí Tichého oceánu, na v bûïku s v hledem na most Golden Gate. Je to místo, které sehrálo dûleïitou roli v tvorbû mnoha ãesk ch a slovensk ch v tvarn ch umûlcû. Jak el ãas a umûlci získávali více zku eností v zahraniãí, pfiáli si dostat se do New Yorku a poznat zdej í scénu, seznámit se s kurátory, nav tívit muzea a galerie a setkat se s dal ími umûlci. FCS se proto rozhodla poskytnout vítûzûm v ech cen estit denní stipendium pro pobyt v New Yorku, kde mají k dispozici ateliér v rámci International Studio and Curatorial Program. PÛvodní my lenka Chalupeckého ceny je v ak ve stfiedoevropsk ch a balkánsk ch programech zachována. Jejich principem je otevfiená, rovnoprávná a transparentní soutûï, v stava ãtyfi finalistû a stipendium a samostatná v stava pro vítûze. Cena Jidfiicha Chalupeckého a v echny dal í ceny by se nikdy nemohly stát skuteãností ani úspû nû pokraãovat po cel ch patnáct let, kdyby nebylo vnímavé, loajální a nad ené podpory ze strany Trust for Mutual Understanding, za niï my v ichni vãetnû regionálních organizací a 34 laureátû nikdy nepfiestaneme b t vdûãni. Dûkujeme. Dovolte mi pfiipojit mé osobní podûkování v em pûvodním organizátorûm Chalupeckého ceny. Je to fantastick program. Wendy Luers prezidentka Nadace pro obãanskou spoleãnost overlooking the Golden Gate bridge and the Pacific Ocean. The setting was pivotal to the work of many the Czech and Slovak artists. As time passed and the artists had more foreign experience, they wanted to come to New York and experience the scene, meet curators, visit museums and galleries and be with other artists. Therefore, FCS brings the winners of all the awards for a 6-week fellowship in New York with studio space at the International Studio and Curatorial Program. But the original idea of the Chalupeck Award is maintained throughout the Central European and Balkan programs, which is to have an open, fair and transparent competition, an exhibition of the four finalists and a fellowship and one-person exhibition for the winner. The Chalupeck and all the other Awards would never have been possible nor the resounding success that they are and have been for FIFTEEN YEARS without the intelligent, loyal and enthusiastic support of The Trust for Mutual Understanding for which we, the regional organizers and the 34 winners, are forever grateful. Thank you. And I also would like to express my personal gratitude to all of the original organizers of the Chalupeck Award. It is a magnificent program. Wendy Luers President, The Foundation for a Civil Society

9 10 TRUST FOR MUTUAL UNDERSTANDING poskytuje dlouhodobou podporu Cenû Jindfiicha Chalupeckého aklade si za ãest b t spojován s ocenûním, jehoï laureáti za uplynul ch patnáct let tvofií vskutku pozoruhodnou sestavu v jimeãn ch umûlcû. Mimofiádná kvalita tvorby ocenûn ch autorû odráïí ífii i hloubku umûleckého talentu v âeské republice. Cena byla koncipována jako ocenûní pro mladé umûlce, ktefií ji získávají v relativnû nízkém vûku, na poãátku své umûlecké dráhy. Pfiedstavuje nejen uznání kvality jejich práce, ale také je staví do viditelné pozice na umûlecké scénû. Vítûzové ceny se tû í pozornosti, která automaticky roz ifiuje okruh pfiíznivcû jejich tvorby. Díky kritické erudici porotcû a jejich bezpeãnému smyslu pro estetické kvality putovalo ocenûní vïdy do rukou neobyãejnû talentovan ch umûlcû. Prozíravost rozhodnutí poroty nejlépe dokazuje skuteãnost, Ïe se ocenûní autofii fiadí mezi nejpozoruhodnûj í souãasné umûlce nejen na domácí scénû, ale i v mezinárodním mûfiítku. Hodnotu Ceny Jindfiicha Chalupeckého velmi dobfie dokládá také fakt, Ïe poslouïila jako vzor pro podobné programy v mnoha dal ích zemích stfiední a v chodní Evropy. K první expanzi do lo v roce 1996, kdy byla na Slovensku poprvé udûlena Cena Oskara âepana. V uplynul ch tfiech letech byly zaloïeny programy v roãních umûleck ch ocenûní také v Chorvatsku, Kosovu, Makedonii, Srbsku a âerné Hofie, a nejnovûji v Bosnû a Hercegovinû a ve Slovinsku. Za úspû n m roz ífiením Ceny do dal ích zemí stfiední Evropy stojí pfiedev ím jedna organizace: Nadace pro obãanskou spoleãnost (The Foundation for a Civil Society), která ve spolupráci s partnersk mi organizacemi uvedla pfiíklad Ceny Jindfiicha Chalupeckého do Ïivota v dal ích zemích regionu. Pro Trust for Mutual Understanding je potû ením pfiipojit se ke jmenované nadaci a spoleãnû s mnoha dal ími místními dárci a podpûrci se finanãnû podílet na vûci takového v znamu a prokazatelné hodnoty. Patnácté v roãí se ãasto oslavuje perliv m pfiípitkem, coï se jeví jako zvlá È pfiíhodná zvyklost, pomyslíme-li na bohatou a skvûlou historii Chalupeckého ceny, poãínající rokem Pfies ve keré nepokoje a konflikty, které stále trápí tak velkou ãást svûta, jedna vûc je zcela zfiejmá a jasná: nejtalentovanûj í z umûlcû obohacují ná Ïivot nespoãetn mi zpûsoby díky své tvûrãí síle a imaginaci. To nejmen í, co mûïeme udûlat, je ukázat jim, jak si jejich práce ceníme a poskytnout jim tolik vefiejného uznání a díkû, kolik dokáïeme dát. Îádn program tohle neumí lépe, neï Cena Jindfiicha Chalupeckého. Richard S. Lanier fieditel, Trust for Mutual Understanding AS A LONG-STANDING SUPPORTER of the Jindfiich Chalupeck Award, the Trust for Mutual Understanding is proud to be associated with a prize that, in the course of the past fifteen years, has been given to such a remarkable group of extraordinary artists. The exceptional quality of the work of those who have won the Award is a wonderful reflection of the range and depth of creative talent in the Czech Republic. Because the prize was created specifically for young artists, it typically comes at a relatively early point in their careers, providing a level of recognition and a degree of visibility that might not otherwise have been attained until later in their professional lives. As a result, winners benefit enormously from the attention and exposure accompanying the Award, which automatically provides a new and larger audience for their art. It is a great tribute to the critical acumen and aesthetic good judgment of the Chalupeck jurors that they have consistently selected such talented recipients. The wisdom of their decisions has repeatedly been borne out by the fact that many of the awardees subsequently come to be widely regarded, at home and abroad, as among the world s most outstanding contemporary artists. One of the best indications of the value of the Chalupeck Award is that it has served as such an effective model for similar programs in so many other countries in the region. The first expansion occurred in 1996, when what is now known as the Oskar Cepan Award was initiated in the Slovak Republic. In the past three years, annual prize programs have also been established in Croatia, Kosovo, Macedonia, and Serbia & Montenegro with Bosnia & Herzegovina and Slovenia being the countries most recently to follow suit. More than any other single organization, The Foundation for a Civil Society, working in collaboration with its partners in the region, has been responsible for the successful introduction of the Chalupeck example into other parts of Central Europe. The Trust is delighted to have been able to join the Foundation, together with many local donors and supporters, in providing financial assistance to what has proven to be such an important and worthy cause. The fifteenth anniversary of an event is often celebrated with crystal, an especially appropriate tradition in light of the sparkling record that has been compiled by the Chalupeck Award since it began in Despite the unrest and conflict that invariably seem to plague so much of the world, one thing remains crystal clear: our most talented artists enrich our lives in innumerable ways with the products of their creativity and imagination. The least we can do is to show them our appreciation by giving them as much public acclaim and acknowledgement as we can. No program has done that better than the Jindfiich Chalupeck Award. Richard S. Lanier Director, Trust for Mutual Understanding

10 11 O OSOBNOSTI JIND ICHA CHALUPECKÉHO 12. ãervna 1990, v prvním roce obnoveného demokratického Ïivota v âeskoslovensku, dotlouklo srdce filosofa, literárního a v tvarného kritika Jindfiicha Chalupeckého, osobnosti nav sost vzdûlané, moudré a stateãné. Ty zlé okamïiky revokuje Elegie, v níï ho apostrofovala jeho Ïena, básnífika Jifiina Hauková: Blankyt oãí upfien do blankytu nebe. / Opou tûl jsi svût mezi bíl mi zdmi / bez sv ch milovan ch obrazû. / Zemfiel jsi na pokraji svítání nové Evropy. KdyÏ jsme ho v jeho závûreãn ch letech nav tûvovali doma i v nemocnici, navazoval uï stûïí hovor. I tak toãil se pfieváïnû kolem umûní a literatury, jimiï byl pohlcen cel Ïivot. A je tû k jednomu tématu se obãasn mi dotazy vracel v odlesku euforie prvních mûsícû roku 1990, totiï ke stavu svobody. PovaÏoval ji za universální hodnotu, která je v rukou lidí, za to jediné, z ãeho mûïeme Ïít a pracovat. Rád zdûrazàoval v em, ktefií mu stáli nablízku, Ïe ho kritika literatury a umûní pfiivedla k poznání úmûry mezi nezbytností vnitfiní svobody pro tvûrãí ãinnost a obãanské svobody, bez níï je spoleãnost ochromena. VyuÏíval ji ve 30. letech, na její v znam se odvolával ve váleãném dusnu, hlásil se k ní ve sv ch tûsnû pováleãn ch textech, srdnatû se ke svobodû jako vûci vefiejné vyjadfioval (na stránkách Literárních novin) kolem roku 1968, dokud to bylo moïné. Pfiedpoklady k intelektuální nezávislosti získal Jindfiich Chalupeck (narozen v Praze 12. února 1910) jiï v mládí. Ke studiu filosofie, estetiky, dûjin umûní a literatury na praïské filosofické fakultû pfii el vybaven vûdomostmi, které bûhem gymnasiálních let naãerpal z bohaté knihovny svého otãíma. Fakultní pfiedná ky ho neuspokojily. Universitu opustil a dal pfiednost sebevzdûlávání, aniï by slevil z nárokû na vûdecké zkoumání jevû, jimiï se celoïivotnû zab val. StfieÏil se ov em postavení kabinetního vûdce. Pfiítomnost ho znepokojovala sv m protikladn m v vojem, na nûjï nenacházel dostatek odpovûdí ve filosofick ch systémech, které dûvûrnû znal. Tak jako umûní a literaturu je konfrontoval se Ïivotem a osudy ãlovûka. Chalupeckého kritická ãinnost vycházela z mravních zásad, k nimï patfiila obãanská odpovûdnost a úcta k názorûm druh ch, coï neznamenalo, Ïe by do krve nehájil poznané pravdy. Pfiístup k aktuálním umûleck m projevûm mu usnadàovala schopnost básnického cítûní a bohatá pfiedstavivost. Promûny umûleckého my lení a zpûsobû vyjadfiování byly pro nûj zrcadlem procesu, jímï si ãlovûk uvûdomuje sám sebe a svûj ãas. Uznával ho jako strûjce nové a mûnlivé krásy, kterou vedle poesie a literatury a v tvarn ch disciplín nacházel téï v hudbû. I kdyï se pfiednostnû vûnoval ve svém psaní i hovoru umûní, b val s to pfieru it uãená rozprávûní a na chvíli se zasnít nad dojmy z pfiírody. Ctil její Ïivelnou a nepfiekonatelnou nádhernost, která lidské mohutnosti pfievy uje. Jako ãlovûk pov tce mûstsk ON JIND ICH CHALUPECK The day of June 12, 1990, in the first year of the renewal of democratic life in Czechoslovakia, witnessed the death of the philosopher, literary critic and art theorist Jindfiich Chalupeck, a personality of great erudition, wisdom, and civic bravery. This was recalled by Chalupeck s wife, the poet Jifiina Hauková, in her Elegy in which she refers to him: The azure of eyes fixed upon the azure canopy of heaven. / You departed the world between white walls / without your beloved pictures. / You died at the very dawning of a new Europe... He devoted himself to his work till the last, until he no longer had enough strength. The means and nature of his critical thought was absorbed by art and literature, which naturally influenced the character of his relationship to life. For this reason, he did not become an academic scholar. In judging their meaning and state, he considered it necessary to uninhibitedly address public matters. It seems unjust that he was only able to celebrate the return of freedom to his native land from a short distance. He considered freedom a universal value and, as he once wrote, The only thing that we can live and work off. He loved his native land, but in his entire essence felt himself to be a world citizen, anchored by his consciousness in cultural contexts beyond national boundaries. With its contradictory development, the modern age disturbed him. He reflected on the causes of how various artistic trends emerged and on the courageous deeds of creative figures who crossed the bounds of established tradition as well as modern conventions. In the changes, that art and literature underwent, he traced the process by which a person of the present becomes aware of himself. The understanding that he achieved confirmed the lifelong experiences he had gained. Chalupeck s critical work stemmed from moral principles that included the civic responsibility of a democrat, respect for those nearest to one and for their opinions, and openness in communicating the truths that one has come to know. He upheld these principles in his relationship towards human society and applied them in his activity. Reflection on artistic phenomena convinced him that as against the beauty of elemental nature, only man is capable of creating another, purely human beauty, since through art he does not only reflect his individual being, but also an image of the age in which he lives. He considered the achieving of inner freedom that enables an individual to think, feel and act independently an essential condition of creative exertion. Although not dependent on the outward circumstances of civic freedom, it has long been within the power of man as a part of society s spiritual estate. Jindfiich Chalupeck (born 12th February 1910 in Prague) acquired the prerequisites for his intellectual independence in his early youth. He began his studies of philosophy,

11 12 odvádûl rád pozornost k záïitkûm z prázdninov ch pobytû v ãeské krajinû nebo z cest, které podnikl. koda, Ïe si nevyhradil ãas, aby písemnû zpracoval tfieba vyprávûní o panûlsku, v nûmï porovnával vliv konfigurace zemû a podnebí na povahu tamních obyvatel, aby dokládal jeho reflexe v podobách tamní stfiedovûké architektury a plastiky aï po projevy novodobé od Gaudího po Miróa ãi Tápiese. KdyÏ rozvaïoval o pfiíãinách vzniku rûzn ch umûleck ch tendencí, dával pfiednost zkoumání odváïn ch ãinû tvûrãích osobností, které pfiekraãovaly sotva ustálené styly a smûry. Za nadmíru nebezpeãné pokládal stagnaci my lení austálené konvence, jeï nejen v minulosti, ale i v moderní dobû umûní svazovaly. Proto se vûnoval ve svém stûïejním díle Podobizna umûlce v moderním vûku osobnosti Marcela Duchampa. Z jeho tvûrãích pfiístupû odvozoval stûïejní otázky, jeï pohnuly v vojem soudobého umûní. Pfií hodnocení vûdãích jevû moderní éry odmítal novû pfiijímané konvence, jak napfiíklad dokládal ocenûním tvorby Matissovy, na níï se zvyklo nahlíïet neprávem jen ve stínu mocné osobnosti Picassovy. Mûfiítky hodnot souãasného umûní ve svûtû, s nimiï byl dobfie seznámen, posuzoval bez ilusí domácí scénu. V tomto smûru se právem cítil b t svûtoobãanem, zakotven v souvislostech kultury nové doby, v níï bylo zatûïko se omezovat hledisky národních tradic a kol. Se zlou se v ak u nûj potázal ten, kdo by podceàoval umûlecké hodnoty jeho rodné zemû. Nejen pro navázaná pfiátelství zab val se díly umûlcû, ktefií byli doma nedocenûni nebo systematicky podcenûni. T kalo se to básníka Richarda Weinera, o nûmï vydal po válce studii aknûmuï se znovu vrátil v esejích o literárních Expresionistech, spolu s Jakubem Demlem, Ladislavem Klímou a Jaroslavem Ha kem. S hlubokou vdûãností vzpomínal na Franti ka Halase, jehoï nad jiné ctil (a jemuï v 60. letech ediãnû pfiipravil k tisku básnû z pozûstalosti). Z v tvarníkû byli to Zdenûk Rykr a Franti ek Janou ek, ktefií byli spoleãnû s jin mi Chalupeckého generaãními souputníky podle jeho slov pfiehlíïeni ze strany vládcû SVU Mánes. Obûma ostatnû pfiipravil v 60. letech souborné v stavy a Janou kovi vûnoval znamenitou monografii. Jakkoli se ve sv ch kritick ch statích a úvahách, které uvefiejàoval porûznu od 30. let, vûnoval zjevûm, jeï ho pfiitahovaly, pevnou pûdu nalezl v fiadách generace, k níï náleïel. UÏ í souïití s tvûrci mu usnadàovalo vhled do jejich zpûsobu my lení a zároveà vybru ovalo jeho kritické postoje. Autoritu netoliko v jeho generaci mu zajistila klíãová staè Svût, ve kterém Ïijeme ( ). K otázce, jak restituovat v znam umûní v lidském Ïivotû se vracel jako redaktor ãasopisu Umûlecké besedy Îivot a odpovûì formuloval ve vydané úvaze Smysl moderního umûní (1944). Ne lo mu o nov umûleck smûr, ale o objevování poesie v kaïdodenní skuteãnosti, coï se stalo spoleãn m jmenovatelem tvorby v tvarníkû a literátû, ktefií se kolem nûj sdruïili ve Skupinû 42. V tísniv ch váleãn ch letech aesthetics, art history and literature at the Prague Philosophy Faculty equipped with knowledge that he had gained from the rich library of his father during grammar school. The lectures given at the faculty did not satisfy him, however; he left university and focused instead on self-education which, together with following topical cultural developments, provided him the whole of his life with a broad overview of the areas to which he devoted himself. From the 1930s onwards he published essays, articles and critical studies at various intervals. Using criteria drawn from a detailed knowledge of contemporary art around the world, he assessed the domestic scene without illusions. Those he devoted himself to chiefly included the artists with whom he had close understanding Zdenûk Rykr, Franti ek Janou ek, Franti ek Hudeãek, Jifií Koláfi and the writers Richard Weiner and Franti ek Halas, who provided him with many impulses. This ongoing relationship with creative figures revealed the depths of their artistic thought to him without preventing him adopting a critical stance towards them. In the same way that he was unforgiving of himself, he was also capable of being demanding of his companions. He dedicated himself at one and the same time to works by figures whom he admired (including the artist Josef íma) or by those who disturbed him (which was the case, for example, with the writers Jakub Deml, Ladislav Klíma and Jaroslav Ha ek). He continued to live modestly, something he grew accustomed to when the generation he belonged to found it difficult to earn a place for itself in cultural developments. He gained authority among his contemporaries with the key essay The World in Which We Live of He was not aiming to formulate the manifesto of a new trend, but in the face of a dearth of possibilities during the war, to seek a way of restituting the meaning of art in human life. Such possibilities were offered by the poetry of everyday reality, which became the program of a newly emerged association of artists and writers called Group 42. He addressed the poetic perception of life as editor of the Umûlecká beseda association s magazine Life, formulating it precisely in his published essay The Meaning of Modern Art (1944). Chalupeck was only briefly able to actively involve himself in the promising years immediately after the Second World War. He was the secretary of the artists organisation, with his wife, he translated T. S. Eliot s The Waste Land, and above all, influenced cultural awareness with his articles in Journal of Art and Literature. Apart from a study on Richard Weiner, he published two books (Great Opportunity, Culture and the People) in which he did not shun the hope that socialist ideas could bring, given that freedom was maintained. He acknowledged their hopelessness at the very moment the newly installed regime of Communist dictatorship subjected art to the service of ideology. Along with a series of his contemporaries, he sowed discord

12 13 oslovila domácí publikum a po konci války byl její nemal v znam uznán i ve svûtû. V tûsnû pováleãné dobû staãil Chalupeck v témûfi horeãné aktivitû ovlivàovat kulturní vûdomí sv mi statûmi v Listech pro umûní a filosofii ivydan mi publikacemi (Veliká pfiíleïitost, Kultura a lid); ohlas mûl téï pfieklad Eliotovy Pusté zemû, na nûmï se podílel se svou chotí. Po pfievzetí moci ve státû komunisty, jejichï ideologickému diktátu se odmítl podvolit, byl z vefiejnosti vyfiazen. Îil nevalnû, uchránil si v ak vnitfiní svobodu, aby mohl v ústraní pokraãovat v úvahách o soudobém umûní a jeho povaze. Resignoval na nadûje, které vkládal do prohloubení demokracie v oblasti kultury, a pfiekonával zklamání, jehoï se doãkal rozchodem s nûkdej ími druhy ze své generace. Jen s nûkter mi (mezi nûï patfiili Kamil Lhoták, Franti ek Hudeãek, Jan Smetana, Jifií Kotalík) setrval ve vzájemné úctû, zvlá tû pak se sblíïil s Jifiím Koláfiem, jehoï dílu se nepfiestajnû vûnoval. Osamocenost pfiekraãoval styky s umûlci pováleãné generace, ktefií stanuli vnû oficiální kulturní scény a zaãali se na nûj jako na v estrannû vzdûlaného a informovaného umûleckého kritika obracet. Jen málokdy jim vyprávûl o proïité minulosti; pfiedváleãné pomûry neidealizoval, kromû svobody, kterou pokládal za základní podmínku pro rozvoj umûní, svou úãast na odboji proti nacistûm bagatelizoval. S mlad mi pfiáteli, mezi nûï patfiili nejen v tvarníci, ale i spisovatelé a postupnû i kritici, se scházel v kavárnách, vût inou v ak ve skromné pracovnû svého vr ovického bytu, kde byl obklopen vskutku vybranou a stále doplàovanou umûleckou sbírkou a knihovnou. âasem zaãal pravidelnû nav tûvovat ateliéry mlad ích umûlcû, vûãi nimï uplatàoval neúprosnou nároãnost na jejich tvorbu. Od kaïdého chtûl sly et dûvody, které ho pfiivedly k danému tvûrãímu postoji, sotva se seznámil spfiedkládan mi díly. Obvykle procházel po místnosti, nasazoval a zase snímal br le, aby si mohl obrazy, sochy ãi grafiky lépe prohlédnout, a otevfienû o nich vyslovovat soudy. Chalupeckého zjevnû tû ilo, Ïe kolem nûj vzniká soukromé auditorium, v nûmï mohl rozdávat své znalosti o umûní svûta pfiítomnosti, jeï pokládal za autentick projev doby, a uãit druhé svobodnû myslet a tvofiit. Ohlas jeho názorû v fiadách umûlcû pováleãné generace ho povzbuzoval a na oplátku jim vracel sebedûvûru. Okruh, do nûhoï zprvu patfiili Vladimír Boudník, Jifií Balcar, Mikulá Medek, Eva Kmentová, se rychle rozrûstal. Liberální atmosféra edesát ch let umoïnila koneãnû Chalupeckému návrat k vefiejné kritické ãinnosti. Jakmile to okolnosti dovolily, uplatnil se ve spolupráci s pováleãnou generací jako vûdãí ãinitel v obrozeném Svazu v tvarn ch umûlcû. Vzal si pod svá kfiídla v bûr titulû svazového nakladatelství (v nûmï vydal roku 1966 soubor statí Umûní dnes, jimiï orientoval umûlce i publikum o nov ch proudech a jevech na svûtové v tvarné scénû) a souãasnû svazové ãasopisy. Pozvedl profil tiskovin a úroveà jednotliv ch in rejecting the dogmas that were declared. He was consequently silenced and excluded from society. Although he lived off scanty means, he managed to preserve his inner freedom in order to be able to continue following the art of the contemporary world in forms of expression he considered authentic. These art forms posed questions from various angles concerning the fundamental nature of art and the reasons for changes in selecting means of expression. He reflected on earlier causes of changes in the language of art, and at the same time about its relationship to philosophical systems that the 20th century had produced. He was encouraged by the reaction to his opinions among artists of the post-war generation who like him, opposed the official cultural politics. He welcomed the establishing of a private auditorium where he taught his friends to think freely and informed them about contemporary art beyond the tightly sealed borders of Czechoslovakia. He systematically focused on the leading manifestations of art in his country, which meant the work of Jifií Koláfi and Vladimír Boudník. As an adviser and critic he also devoted himself to the work of younger artists (beginning with Jifií Balcar, Mikulá Medek, Eva Kmentová, forming a circle that was soon increased with other artists), literati and art critics. In the 1960s Jindfiich Chalupeck returned to public awareness with his published articles that were, to begin with, constricted by the censors on several occasions. When the post-war artistic generation succeeded in getting their representatives placed in the organisational structures of the Artists Union, Chalupeck was engaged in their activities as a leading official figure. He was involved in the art community s magazines as well as in selecting the books issued by its publishing house, with which he published a collection of his essays entitled Art Today (1966) that had fundamental significance in terms of how it indicated an orientation. As an editor, he prepared poems from the estate of Franti ek Halas for publication, and also prepared retrospectives of work by Zdenûk Rykr and Franti ek Janou ek. Together with Adolf Hoffmeister, he promoted contacts with other countries in the field of art, using his position in the International Association of Art Critics (AICA). He made all possible efforts to achieve the exchange of the values of art, which he considered a mirror of the modernday conscience and something removed from forms of expression that served ideology or celebrated consumerist society. He found these values not only within the framework of renewed relations with Western Europe, but also in the contribution made by American art and the Soviet underground. On the Prague scene, he happily devoted himself to running the pála Gallery in whose exhibition program he promoted the open juxtaposition of topical art trends. While he could, he made full use of the promise of freedom for which he gallantly fought from the viewpoint

13 14 ãísel tím, Ïe peskoval neoblomn mi poïadavky redaktory i pfiispûvatele za nedochûdnost vyjadfiování a nedostatek jasnû vysloven ch my lenek. Díky svému postavení v Mezinárodní asociaci umûleck ch kritikû (AICA) podporoval rozvoj zahraniãních stykû s evropsk m Západem, s Amerikou a rovn m dílem s nekonformními umûlci tehdej ích socialistick ch zemí (kde zvlá tû v ruském undergroundu byl ctûn). Nejvíce se vûnoval oïivení v stavní scény. Bavilo ho vedení pálovy galerie, která mu byla svûfiena a v jejímï v stavním programu prosazoval otevfienou konfrontaci aktuálních v tvarn ch tendencí. Uplatnil se úãinnû ve v estrannû otevfieném dialogu, kter ukonãila násilná obnova otfiesené diktatury za pomoci cizích vojsk. Jeho hlas, v závûru je tû peãující o památku zápalné obûti Jana Palacha, byl v rámci kulturní normalizace umlãen. Spolu s ostatními svobodomysln mi obãany se nevzdal oposice proti vnucenému reïimu. Stal se iniciátorem pravideln ch setkávání nekonformních umûlcû a pilnû nav tûvoval soukromé v stavní konfrontace v ateliérech. Odmítal plané hofiekování a v rozpravách nad tvorbou zdûrazàoval, Ïe jedinou moïností je udrïet její vnitfiní kontinuitu. Radil ve volbû vhodné taktiky oposiãního poãínání; vítal, Ïe se nejmlad í umûlecká vrstva, kterou se zájmem sledoval, prosazuje na vefiejnosti, a sotva to umoïnilo rozklíïené státní ústrojí, dal podnût k zaloïení Nové skupiny, sdruïující nezávislé umûlce, architekty a teoretiky. Od udrïení mezinárodních kontaktû ho neodradilo sledování orgány bezpeãnosti. V zahraniãí publikoval v renomovan ch ãasopisech a nakladatelstvích (vãetnû periodik exilu) své eseje a studie o soudobé autentické tvorbû, pfiedev ím ãeské a slovenské. Jejich rukopisy mezi umûlci kolovaly, nûkteré vy ly tiskem v edicích Jazzové sekce (nebo byly pro nû pfiipraveny). Souãasnû revidoval a doplàoval své star í texty o literatufie a umûní. Byl soustfiedûn ke zmínûné monografii Duchampovû a zpracovával kapitoly filosoficko-historického díla Evropa a umûní, které dal k disposici v rozmnoïen ch rukopisech. Pfiíslu níky pováleãné generace pochopitelnû zvlá È pfiitahovaly Chalupeckého úvahy, vûnované profilu její tvorby. Zadostiuãinûní pfiineslo kniïní vydání esejû Na hranici umûní (Mnichov, 1987), zatímco bylo zklamáním, Ïe se lo z jiï pfiipraveného amerického vydání knihy Nové umûní v âechách (která byla v ãeské verzi distribuována v podobû samizdatu). Nebylo náhodou, Ïe v posledních letech Chalupeckého Ïivota vznikly kromû dal ích dvû stati, jimï lze pfiisoudit vzkaz symbolické závûti. V Neznámém umûní (1985) hájil svébytn pfiínos ãesk ch a slovensk ch umûlcû nové doby svûtové v tvarné kultufie. V Cestû umûní (1989) se znovu zam lel nad smyslem umûní a architektury v lidském Ïivotû. DoloÏil, Ïe dûvodem propadu je pohodln návyk na bezobsaïnost dekorativní man ry, zatímco jedin m v chodiskem pro obû discipliny je nároãn tvûrãí of the needs of cultural politics. He lost his platform once again, though, as the Communists barely managed to restore their shaken dictatorship with the aid of Soviet occupying forces. As part of what was termed cultural normalisation, Chalupeck was, along with other freethinking citizens, excluded from public life. He never gave up his opposition to the enforced regime, however; with his friends from the art world he organised private exhibitions and discussion meetings, and, as much as he could, helped to maintain international contacts (including those with the Russian underground). He gave advice in choosing the most suitable tactical steps in dealing with ruling circles, and, as soon as it was made possible by the disintegrating state organs, he initiated the establishing of the New Group, which brought together independent artists and architects. He wrote articles and essays about authentic contemporary art with particular regard to Czech and Slovak artists, as well as other artists from countries subjugated by totalitarianism. It was not only information but also perceptive reflections with which he addressed the international public through renowned foreign magazines and publishing houses that solicited his words. Older manuscripts that he re-edited and new texts about literature and art circulated in Czechoslovakia in the form of typewritten sheets; several of them were even published in the private editions of the Jazz Section. He also published his work in the periodicals of the Czechoslovak émigré community, which enabled him to publish in book form his essays On the Borders of Art (1987). Circumstance unfortunately prevented the American publication of his New Art in the Czech Lands (which was at that point accessible to the Czech public in the form of samizdat). In terms of his research, he focused on completing his key monograph Portrait of the Artist in the Modern Age (dedicated to Marcel Duchamp), and continued working on chapters of his philosophical-historical book Europe and Art. He was, however, overcome by kidney disease and the medicines that his friends from around the world sent him only helped to ease his suffering. (Artists even got together to create a collection of their works intended to be sold in Paris by Jifií Koláfi in order to buy Chalupeck a dialysis machine.) Symbolic meaning can be ascribed to the themes of two articles written in the final years of his life; in Unknown Art (1985) he defended the independent contribution made by modern-day Czech and Slovak artists to international artistic culture. In his Paths of Art (1989) he reflected once more on the meaning of art and architecture in human life. He demonstrated that the reason for the decline in both these disciplines is decorative mannerism, and that their only starting point remains a creative approach that endows them with spiritual values in order to be able to transform man s surroundings into a new spiritual reality. After 1990, it finally became possible to make Jindfiich

14 15 pfiístup, aby byly s to pfietvofiit prostfiedí ãlovûka v novou duchovní skuteãnost. Autorovi se psalo stále obtíïnûji. Zmáhala ho choroba ledvin. Léky, zasílané pfiáteli ze svûta, jen zmíràovaly trápení. Na získání prostfiedkû k zakoupení dialyzaãního pfiístroje mûla b t z ochoty Jifiího Koláfie uspofiádána v PafiíÏi aukce dûl, které v Praze spontánnû shromáïdili nekonformní umûlci. Chalupeck sledoval celou akci, která vyvrcholila v stavou darû k jeho poctû na poãátku roku 1990, z povzdálí a s vdûãností. V samém závûru osmdesát ch let se doãkal nejen samizdatov ch vydání sv ch literárních studií, ale ve státním nakladatelství Odeon téï seriózních pfiíprav k vydání nûkter ch ze sv ch publikací. Ke zpfiístupàování jeho písemného dûdictví do lo v ak aï po Chalupeckého skonu a tím zaãal b t splácen dluh, kter k nûmu má kulturní obec. Zahrnuje reedice nebo pfievody samizdatovû ãi v zahraniãí vydan ch textû o literatufie a umûní do kniïní podoby. Nov byl svazek shromáïdûn ch statí o situaci kultury v totalitní spoleãnosti pod titulem Tíha doby. K publikacím o v tvarném umûní (zmínûné monografii Franti ka Janou ka a kniïní podobû Nového umûní v âechách) se na knihkupeck ch pultech objevil koneãnû v bor z jeho studií o v tvarném umûní a architektufie Cestou necestou (vydan nakladatelstvím H&H). Nakladatelství Torst, které zpfiístupnilo jeho v e uvedenou práci o Duchampovi, chystá k vydání Chalupeckého nedokonãen rukopis knihy Evropa a umûní. Neménû závaïnou poctou jeho osobnosti a dílu se stalo z podnûtu Václava Havla, Jifiího Koláfie a Theodora Pi tûka zaloïení Ceny Jindfiicha Chalupeckého, která je od roku 1990 udûlována mlad m umûlcûm. Staãil je tû vyslovit souhlas s jejím zfiízením, neboè odpovídala jeho pfiání, Ïe je pro zaãínající umûlce uïiteãné podporovat cesty za práh domova k získání vzdûlanosti a rozhledu. Kromû v e uveden ch ediãních ãinû, které zpfiístupnily dlouho zamlãované teoretické dûdictví Jindfiicha Chalupeckého, se zfiízení ceny, nesoucí jeho jméno, stalo Ïivou pobídkou pro ãeské v tvarné umûní pfiítomnosti. V duchu jeho názorû vstupují mladí umûlci k pfiímé konfrontaci s aktuálním v vojem umûní ve svûtû a ve zdravém duchu spolu vzájemnû soutûïí. Uvedená aktivita nachází pochopení u domácích kulturních institucí, zvlá tû Ministerstva kultury âeské republiky, i podnikatelsk ch subjektû; rozhodující zásluhu za cesty laureátû do zahraniãí pak má velkorysá podpora americk ch sponzorû, jmenovitû The Foundation for a Civil Society a Trust for Mutual Understanding. Soudû podle v sledkû tvorby ocenûn ch umûlcû lze pokládat zmínûnou prestiïní cenu za vhodn zpûsob, jímï je naplàován odkaz Jindfiicha Chalupeckého. Chalupeck s literary legacy accessible, thereby repaying the debt that the cultural community owed to him. The book On the Borders of Art was re-edited, the monograph on Franti ek Janou ek was published, as were the following: his panoramic study New Art in the Czech Lands, a collection of his older articles devoted mainly to literature and poetry entitled In Defense of Art (originally published in the samizdat Expedition Edition), literary critical essays on Richard Weiner, Jakub Deml, Ladislav Klíma and Jaroslav Ha ek under the title Expressionists, a selection of reflections on the situation of culture in totalitarian society The Burden of the Age and ultimately also the monograph on Marcel Duchamp mentioned earlier (which would, of course, deserve translation from the original Czech). At the beginning of this year there finally appeared on the shelves of bookstores a volume of studies on art and architecture entitled Through Thick and Thin (which Chalupeck prepared in 1989 for Odeon publishers and has now been issued by the publishing house H&H). When the comprehensive, albeit unfinished, manuscript of the book Europe and Art currently being prepared by the publishing house Torst is brought out, the greater part of Chalupeck s literary work will be accessible to readers. Chalupeck s legacy also includes the care he dedicated to younger artists. He required of them education and an informed knowledge of contemporary developments in art, which presupposed transcending, cozy parochialism and embarking out into the world to gain apprenticeship. In addition to the above-mentioned publishing efforts making public the long-silenced theoretical heritage of Jindfiich Chalupeck, a prize was also endowed in his memory and bearing his name, as a continually vivid inspiration for the Czech artistic world of the present. In the spirit of his views, young artists are brought into direct confrontation with current developments in artwork across the world, and in a healthy spirit of mutual competition. Such efforts have won the support of both domestic cultural institutions, in particular the Czech Ministry of Culture, as well as commercial sponsors, and great organisational support for the study trips abroad has been provided through its American sponsors, namely the Foundation for a Civil Society and the Trust for Mutual Understanding. Judging from the results of the artists awarded the prize, this prestigious artistic award can be well viewed as a suitable method of reinforcing the legacy of Jindfiich Chalupeck. Jifií etlík Jifií etlík

15 16 CENU JIND ICHA CHALUPECKÉHO zaloïenou v roce 1990 na poãest jednoho z nejv znamnûj ích teoretikû moderního a souãasného ãeského umûní Jindfiicha Chalupeckého je nutno vnímat v nûkolika rovinách. Jako poctu dílu Jindfiicha Chalupeckého, jako podporu mladého ãeského v tvarného umûní i jako urãit ukazatel pfierodu souãasné ãeské v tvarné scény za posledních patnáct let. V tvorbû laureátû je moïno sledovat v voj, kter se od konce devadesát ch let stále více pfiibliïuje souãasné evropské scénû a kloní se k multidisciplinaritû a k otevfienosti nov m médiím. Tak jak se vyvíjelo a vyvíjí souãasné ãeské v tvarné umûní v mezinárodním kontextu v rámci nov ch proudû a v chodisek pro vnímání v tvarného umûní, tak se vyvíjela i struktura a forma soutûïe o Cenu Jindfiicha Chalupeckého. První etapa ( ), zakladatelská, pfiedstavila ve pálovû galerii v Praze tvorbu laureáta a v tvarníkû, ktefií pro pfiíslu n rok získali ãestnou cenu, pozdûji se zde koná pouze v stava laureáta. Cenu pfiedává na PraÏském hradû prezident Václav Havel. Tato etapa je vroce 1996 zavr ena skupinovou v stavou dosavadních laureátû v Románském podlaïí Starého královského paláce PraÏského hradu. Období do roku 1999 lze nazvat obdobím hledáním nové podoby ceny a oprávnûní její existence v provozu ãeského umûní. Na popud pfiedsedy poroty pro rok 1997 Jifiího vestky se ve Starém královském paláci na PraÏském hradû poprvé koná pfiehlídka prací finalistû ceny. Av ak aï od roku 1999, kdy do organizace Ceny Jindfiicha Chalupeckého vstupuje generální partner pro léta , spoleãnost British American Tobacco Czech Republic, se vytváfií pevná struktura organizace aprezentace Ceny. Tehdej í vstfiícné vedení Sbírky moderního a souãasného umûní Národní galerie v Praze poskytuje prostory VeletrÏního paláce pro v stavu prací finalistû, která umoïàuje i ir í vefiejnosti poznat tvorbu mladé generace. Do prostor pfiehlídky tvorby jednotliv ch finalistû se také pfiesouvá ceremoniál pfiedání ceny. Spolupráce s Národní galerií v ak trvá pouze tfii roky po neshodách v pohledu na podobu prezentace finalistû musí Spoleãnost Jindfiicha Chalupeckého hledat nové v stavní prostory. V této dobû Spoleãnost uvaïuje opfiedstavení finalistû mimo Prahu, a proto pfiijímá nabídku fieditele Domu umûní mûsta Brna Radka Horáãka, aby se finále konalo v letech 2002 a 2004 vbrnû. V roce 2003 se uskuteãàuje v praïském centru souãasného umûní Futura. Vroce 2001 je uãinûn dal í krok ke zkvalitnûní soutûïe, a to pfiizváním tfií zahraniãních odborníkû do poroty. Tím Cena Jindfiicha Chalupeckého získává mezinárodní rozmûr, a pfiedev ím diskuse vedená pfii THE JIND ICH CHALUPECK PRIZE was founded in 1990 to commemorate the legacy of Jindfiich Chalupeck, one of the leading theorists of modern and contemporary Czech art. It is best regarded on several different levels of significance. One is to render honour to Chalupeck s intellectual legacy, another is to support young talents in the Czech artistic world, and in addition to serve as a definite indicator of shifts within Czech contemporary art over the past 15 years. In the work of the prize s laureates, it is possible to discern how, since the late 1990s, development has been increasingly keeping pace with the current European art scene, particularly in its tendencies to multi-disciplinarity and openness to new artistic media. Precisely, as the contemporary Czech visual arts have developed and continue to do so within an international context of new impulses and new standpoints for the reception of artwork, similar developmental shifts have marked the structure and the form of the competition process for the Jindfiich Chalupeck Prize. The first stage ( ), the founding years, consisted of exhibitions held in Prague s Václav pála Gallery for the prize-winner and the artists who received honourable mention for the given year; later, only the work of the main laureate was presented. The actual prize was awarded in Prague Castle by former president Václav Havel. This stage reached its peak in 1996 with the group show of all previous laureates, held in the Romanesque cellars of the Old Royal Palace within Prague Castle. The period up to 1999 could be termed the era of a search for a new form for the prize and the justification of its existence as part of Czech cultural life. On the initiative of the jury chairman for 1997, Jifií vestka, an exhibition was first held in the Old Royal Palace of the work of all of the award finalists. However, it was only after 1999, once the organisers of the Jindfiich Chalupeck Prize had reached an agreement with their general partner for the years , British American Tobacco Czech Republic, when there first emerged a firm structure for the organisation and presentation of the award. At this time, the then welcoming management of the Czech National Gallery s collection of modern and contemporary art provided space in the VeletrÏní Palace for exhibition of the work of the finalists, allowing even general public a greater chance to become acquainted with the work of the youngest artistic generation. In addition, the ceremonial awarding of the prize was also re-located to the space where the work of the finalists was to be on display. Cooperation with the National Gallery, nonetheless, only lasted a mere three years; after disagreements about the form of the finalists exhibit, the Jindfiich Chalupeck Association (SJCH) had to find new exhibition spaces. At this time, the SJCH had been considering the presentation

16 17 v bûru finalistû je mnohovrstevnûj í a ménû závislá na ãeské scénû. Od roku 2003 dochází k zatím poslední zmûnû mladé v tvarníky navrhuje grémium pfiedních ãesk ch teoretikû. Zmûny se net kají pouze v bûru a prezentace kandidátû soutûïe, mûní se i forma ãerpání poïitkû spojen ch s vítûzstvím v soutûïi. Od roku 2003 laureát jiï neputuje na západní pobfieïí USA, ale v rámci estit denního stipendijního pobytu má moïnost studia v New Yorku. Pobyt je nadále hrazen americk mi nadacemi Trust for Mutual Understanding a Fundation for Civil Society. VyuÏití finanãního pfiíspûvku, kter laureát získává od Ministerstva kultury âr a kter dfiíve pokr val náklady laureátské v stavy v Galerii Václava pály nebo jejich ãást, závisí nyní na svobodném rozhodnutí laureáta, kter z nûj mûïe financovat v stavu, pfiipravit jin projekt ãi vydat katalog. Podíváme-li se do historie Ceny Jindfiicha Chalupeckého, vidíme v ní zajímav pfiíbûh souãasného ãeského v tvarného umûní, kter se po první postmoderní reakci stále více blíïí v voji mezinárodní scény jak v postupech, tak ve vyuïití nov ch médií. Nûktefií v tvarníci se jiï v dobû získání Ceny etablují na mezinárodní scénû (Vincourová, âern, âernick, Manãu ka), jin m vítûzství v soutûïi potvrzuje jejich v jimeãné postavení nebo se stává nov m impulsem pro jejich tvorbu. Cenû je obãas vyt káno, Ïe laureát se po vyhlá ení nestává mediální hvûzdou, jak tomu b vá v nûkter ch umûleck ch disciplínách. Vyznûní Ceny je v ak dáno prostorem, kter má v tvarné umûní vymezeno v ãeském mediálním svûtû v rámci populární kultury. Zdrav trh dosud neexistuje a v tvarné umûní je pro stále bulvárnûj í umûleck svût, ve kterém se kvalita nemûfií silou my lenky ãi sdûlení, ale prodejností pfiíbûhu, pfiíli komplikované. V tvarné umûní se tudíï pohybuje nûkde na úrovni poezie a váïné literatury, coï mu na druhou stranu zachovává alespoà aureolu opravdovosti a nezkaïenosti. Je tfieba podûkovat ãesk m kurátorûm a teoretikûm, ktefií byli svou erudicí a autoritou ochotni pomoci pfii formování souãasné podoby Ceny Jindfiicha Chalupeckého i pfii její propagaci v zahraniãí (v stavy v Budape ti, v Moskvû, v New Yorku, v Bratislavû nebo v Kyjevû). Ministerstvu kultury âr patfií dík za dlouholetou podporu. Podûkování je urãeno i partnerûm, ktefií se podílí na finanãním a mediálním zabezpeãení Ceny, a v em tûm, ktefií si uvûdomili, Ïe Cena Jindfiicha Chalupeckého zde není pro Spoleãnost Jindfiicha Chalupeckého, ale pro ãeské v tvarné umûní. MoÏná by bylo zajímavé poloïit si otázku, jak by reagoval ãi hodnotil existenci Ceny Jindfiicha of the finalists outside of Prague as well, and thus was pleased to accept the generous offer from the director of the Brno House of the Arts, Radek Horáãek, to have the finale presented in Brno in 2002 and In 2003, it was held in the Futura Centre for Contemporary Art in Prague. The year 2001 also witnessed another procedural shift in terms of improving its quality and professionalism, by reducing the size of the jury but inviting participation of three expert members from abroad. As such, the Jindfiich Chalupeck Prize gained greater awareness in the international context, and in addition made discussion for the selection of the finalists more diverse and less dependent upon the immediate Czech artistic scene. In 2003, the last change so far took place, due to which that the portfolio of young artists is proposed by a selected commission of leading Czech art theorists. Changes have occurred not only in the phases of selecting and presenting the competition s candidates, but also in those phases following the presentation of the award. Since 2003, the laureate is not sent to the west coast of the USA, but granted a six-week stipend for a study period in New York. The costs of the stay are paid by American organisations The Trust for Mutual Understanding and Foundation for a Civil Society. The use of the financial sum awarded to the laureate by the Czech Ministry of Culture, which was formerly used to cover the costs for holding an exhibit of his or her work at the Václav pála Gallery, is now a matter of the laureate s personal choice whether to finance an exhibition, realise a project, or to publish a catalogue. Looking back on the history of the Jindfiich Chalupeck Prize, we witnes to a captivating narrative of the course of contemporary Czech artwork, which starting from a point of classical postmodern reaction, continues all the more to echo developments in the international art scene both in its standpoints and its uses of new media. Several artists have, even from the time of their winning of the prize, established international reputations (Vincourová, âern, âernick, Manãu ka), while for other the prize has confirmed their exceptional status or served as a new impulse for creative work. The prize is occasionally criticised in that its laureates do not become media personalities as in other artistic disciplines. However, it must be borne in mind that the resonance of the laureateship is granted by the social space measured out to the fine arts within the popular culture and media sphere in the Czech Republic, as well as the community of artists as a whole. In short, there is no market for the arts, and excellence within artistic creation is an achievement far too sophisticated for the increasingly commercial media world, in which quality is not measured by the strength of the idea or its communication, but only through brute sales figures.

17 18 Chalupeckého a její postavení v souãasném ãeském provozu sám Jindfiich Chalupeck. I kdyby se snad domníval, Ïe v dne ních pomûrech, kdy mladí umûlci mohou nejen svobodnû tvofiit, ale i svobodnû cestovat a b t vystaveni pfiirozené konfrontaci se souãasn m umûním ve svûtû, se pûvodní smysl Ceny naplnil, oprávnûnost její existence potvrzuje pfiinejmen ím skuteãnost, Ïe se stala vzorem pro zaloïení nûkolika podobn ch soutûïí na v chod od na ich hranic. Dan Merta As a consequence, the fine arts remain on the level of poetry or literature even though this position nonetheless helps them to retain their aura of authenticity and purity. It is necessary to thank the many Czech curators and theorists who have been willing to put their erudition and talents to use in creating the current form of the Jindfiicha Chalupeck Prize, along with publicity for it abroad (exhibitions in Budapest, Moscow, New York, Bratislava and Kiev). Thanks should also be given to the Czech Ministry of Culture for its many years of support, the commercial partners who have assured the financial realisation and media coverage of the prize, and indeed to all those who bear in mind that the Jindfiich Chalupeck Prize is not awarded for the SJCH, but for the Czech art world as a whole. Possibly, it could be interesting to pose the question as to how Jindfiich Chalupeck himself might react too or evaluate the prize that bears his name and its position within Czech cultural life at the present moment. Yet quite as possibly, it is unnecessary to do so, and to recall that its justification is likewise confirmed by its having served as the model for creation of several similar competitions in the Czech Republic s neighbours to the east. Dan Merta

18 19 Spoleãnost Jindfiicha Chalupeckého Jindfiich Chalupeck Association ZAKLADATELÉ CENY JIND ICHA CHALUPECKÉHO THE FOUNDERS OF THE JIND ICH CHALUPECK AWARD Václav Havel, Jifií Koláfi, Theodor Pi tûk SPRÁVNÍ RADA THE BOARD Václav Bo tík, akademick malífi painter; Anna Fárová, historiãka umûní art historian; Ivan Kafka, v tvarn umûlec artist; Mahulena Ne lehová, historiãka umûní art historian; Theodor Pi tûk, malífi painter; Karel Srp jr., historik umûní art historian; Adriena imotová, malífika painter V KONN V BOR EXECUTIVE COMMITTEE Jaroslav Kofián, pfiekladatel a nakladatel translator and publisher; Dan Merta, historik a kritik umûní art critic and historian; Joska Skalník, grafik a malífi artist Jifií etlík, historik umûní pfiedseda art historian President; Tomá Vrba, pfiekladatel a redaktor místopfiedseda translator and editor Vice-President SPRÁVNÍ RADA THE BOARD 2005 Karel Císafi, historik a kritik umûní art critic and art historian; Jifií evãík, historik a kritik umûní art critic and art historian; Theodor Pi tûk, malífi painter; Jifií Pfiíhoda, v tvarn umûlec artist; Tomá Vrba, pfiekladatel a redaktor translator and editor; Jifií etlík, historik umûní art historian; Dana Tomá ová, konzultant consultant V KONN V BOR EXECUTIVE COMMITEE 2005 Charlotta Kotik, historiãka umûní, pfiedsedkynû art historian and chairperson; Tomá Pospiszyl, historik a kritik umûní, místopfiedseda art critic, art historian, vice-chairman; Tomá Císafiovsk, malífi, místopfiedseda painter, vice-chairman; Dan Merta, historik a kritik umûní art critic and art historian POROTY CENY JIND ICHA CHALUPECKÉHO A JEJÍ LAUREÁTI JURIES OF THE AWARD AND AWARD- WINNERS , 1. A 2. ROâNÍK 1 ST AND 2 ND YEAR Mahulena Ne lehová, historiãka umûní pfiedsedkynû art historian Chairperson; Václav Bo tík, malífi painter; Jifií Beránek, sochafi sculptor; Ivan Neumann, historik a kritik umûní art historian and critic; Karel Pauzer, sochafi sculptor; Michael Rittstein, malífi painter; Zdenûk S kora, malífi painter; Adriena imotová, malífika painter; Jifií Valoch, kritik a historik critic and historian LAUREÁTI AWARD-WINNERS 1990 Vladimír Kokolia (âestné ceny Honorable mention Jan AmbrÛz, Franti ek Skála jr.) 1991 Franti ek Skála jr. (âestné ceny Honorable mention Michael Gabriel, Petr Kvíãala) , 3. A 4. ROâNÍK 3 RD AND 4 TH YEAR Josef Hlaváãek, estetik a historik umûní pfiedseda professor of aesthetics, art historian Chairman; Marie Judlová, historiãka umûní art historian; Igor Zhofi, teoretik a kritik umûní art, theorist and critic; Vûra Janou ková, sochafika sculptress; Jifií etlík, historik umûní art historian; Karel Malich, sochafi a malífi sculptor and painter; Viktor Pivovarov, malífi / painter, Joska Skalník, grafik a malífi / artist; Ivan Kafka, v tvarn umûlec / artist, Stanislav Divi, malífi / painter LAUREÁTI AWARD-WINNERS 1992 Michal Nesázal (âestná cena Honorable mention Petr Nikl) 1993 Martin Mainer

19 , 5. A 6. ROâNÍK 5 TH AND 6 TH YEAR Milena Slavická, historiãka a kritiãka umûní pfiedsedkynû art critic and historian Chairperson; Kaliope Chamonikola, historiãka umûní art historian; Jan KfiíÏ, historik a kritik umûní art historian and critic; Karel Miler, historik a kritik umûní art historian and critic; Kvûta Válová, malífika painter; Jaroslav Róna, malífi a sochafi painter and sculptor; Olga Karlíková, malífika painter; Václav Stratil, malífi painter; Marcela Pánková, historiãka a kritiãka umûní art historian and critic; Alena PotÛãková, historiãka a kritiãka umûní art historian and critic; Tomá Císafiovsk, malífi painter; Jan Merta, malífi painter LAUREÁTI AWARD-WINNERS 1994 Michal Gabriel 1995 Petr Nikl , 7. A 8. ROâNÍK 7 TH AND 8 TH YEAR Jifií vestka, historik a kritik umûní pfiedseda art historian and critic Chairman; Václav Bláha, malífi painter; Vlasta âiháková-noshiro, historiãka a kritiãka umûní art historian and critic; Bedfiich Dlouh, malífi painter; Václav Erben, historik umûní art historian; Milan Grygar, grafik a malífi artist; Jifiina Kumstátová, historiãka umûní art historian; Olga Malá, historiãka umûní art historian; Ivan Ouhel, malífi painter; Jifií Zemánek, historik umûní art historian LAUREÁTI AWARD-WINNERS 1996 Katefiina Vincourová 1997 Jifií Pfiíhoda (Finalisté Finalists Federico Diaz, Roman Franta, Veronika Bromová) , 9. A 10. ROâNÍK 9 TH AND 10 TH YEAR Franti ek Skála jr., malífi a sochafi pfiedseda painter and sculptor Chairman; Karel Císafi, kritik umûní art critic (odstoupil resigned); Hugo Demartini, sochafi sculptor; Josef Hampl, grafik a malífi painter; Olaf Hanel, malífi a kritik umûní painter and art critic; Ludvík Hlaváãek, historik a kritik umûní art historian and critic; Petr Pavlík, malífi painter; Tomá Pospiszyl, historik umûní art historian, Michael Rittstein, malífi painter; Naìa eháková, historiãka a kritiãka umûní art historian and critic LAUREÁTI AWARD-WINNERS 1998 Jifií âernick 1999 Luká Rittstein (Finalisté Finalists Markéta Othová, Jan Hísek, Tomá Hlavina, Kri tof Kintera) , 11. A 12. ROâNÍK 11 TH AND 12 TH YEAR Magdalena Jufiíková, historiãka a kritiãka umûní pfiedsedkynû art historian and critic Chairperson; Richard Drury, historik umûní a pfiekladatel art historian and translator; Vít Havránek, historik a kritik umûní art historian and critic; Michal Koleãek, teoretik a kritik umûní art theorist and critic; Vojtûch Lahoda, historik umûní art historian; Lenka Lindaurová, kritiãka umûní art critic; Jaroslav Róna, malífi a sochafi painter and sculptor; Katarína Rusnáková, historiãka a kritiãka umûní art historian and critic; Jifií SurÛvka, malífi painter; Jifií Valoch, kritik a historik umûní, v tvarník art historian and critic, artist LAUREÁTI AWARD-WINNERS 2000 David âern, sochafi sculptor; (Finalisté Finalists Veronika Bromová, Franti ek Kowolovski, Tomá Hlavina, Jan Stolín) 2001 Tomá VaÀek (Finalisté Finalists Tomá Hlavina, Kri tof Kintera, Pavel Kopfiiva, Markéta Othová, tûpánka imlová) , 13. AÎ 15. ROâNÍK 13 TH, 14 TH AND 15 TH YEAR Charlotta Kotik, historiãka umûní pfiedsedkynû poroty art historian and Chairperson; Vladimir Beskid, historik umûní art historian; Magdalena Jetelová, sochafika sculptor; Jifií Pfiíhoda, sochafi sculptor; Jifií evãík, historik umûní art historian; Christopher Tannert, historik umûní art historian; Jonathan Watkins, historik umûní art historian; Maria Lind, historiãka umûní art historian LAUREÁTI AWARD-WINNERS 2002 Markéta Othová (Finalisté Finalists Markéta BaÀková, Federico Díaz, Lenka Klodová) 2003 Michal Pûchouãek (Finalisté Finalists Michaela Thelenová, Kri tof Kintera, Ján Manãu ka, Jan er ch) 2004 Ján Manãu ka (Finalisté Finalists Zbynûk Baladrán, Isabela Grosseová, Jana Kalinová, Rafani, Jifií Skála) , 16. AÎ 18. ROâNÍK 16 TH, 17 TH AND 18 TH YEAR Milena Dopitová, umûlkynû artist; Christoph Grunenberg, historik umûní art historian; Milena Kalinovská, historik umûní art historian; Franti ek Kowolowski, historik umûní art historian; Maria Lind, historik umûní art historian; Boris Ondreiãka, umûlec artist; Roberto Pinto, historik umûní art historian; Radek VáÀa, historik umûní art historian

20 21 Zakládací listina Spoleãnosti Jindfiicha Chalupeckého Charter of the Jindfiich Chalupeck Association Preambule Z podnûtu Václava Havla, dramatika a spisovatele, akademického malífie Theodora Pi tûka a v tvarného umûlce Jifiího Koláfie byla dne 27. kvûtna 1990 zaloïena v Lánech v roãní prestiïní cena pro mladé v tvarné umûlce âeské republiky. Nese jméno pfiedního ãeského teoretika a kritika v tvarného umûní a literatury, esejisty a filosofa pana Jindfiicha Chalupeckého, kter na sklonku svého Ïivota souhlasil s vypsáním ceny pod názvem: CENA JIND ICHA CHALUPECKÉHO Cenou se vyslovuje uznání celoïivotnímu dílu Jindfiicha Chalupeckého a té jeho aktivitû, jíï podnûcoval po roce 1968 u nás neoficiální, avantgardní v tvarn Ïivot a zasazoval se o to, aby si ãeské nekonformní v tvarné umûní udrïovalo svébytnost a nepfieru enou kontinuitu s tradicí ãeského moderního umûní a evropskou v tvarnou kulturou. Svojí ãinností usiloval o propojování názorov ch okruhû a vrstev v ech generací s cílem zabránit probíhajícímu duchovnímu a morálnímu úpadku. I pfies svûj vysok vûk, hloubku a ífii poznání byl stále pfiístupn nov m rodícím se tendencím a mladé umûní vïdy podporoval. Proto je cena vypsána pro mladé umûlce se zámûrem umoïnit tûm nejtalentovanûj ím a v raznû osobit m tvûrcûm pfiím styk se souãasn m svûtov m umûleck m dûním. Zakladatelé Spoleãnosti Jindfiicha Chalupeckého chtûjí pfiispût k povznesení úrovnû ãeského v tvarného moderního umûní a uchování památky my lenkového odkazu ãlovûka, jemuï se boj o osud ãeského moderního umûní stal Ïivotním posláním. Preamble Aprestigious annual award for young artists in the Czech Republic was inaugurated at Lány on May 27, 1990 on the initiative of the writer and dramatist Václav Havel and the artists Theodor Pi tûk and Jifií Koláfi. The award was named after Jindfiich Chalupeck, the distinguished Czech art and literature critic, art theorist, essayist and philosopher. Toward the end of his life he approved the following title for the award: THE JIND ICH CHALUPECK AWARD The title of the award is a tribute to Jindfiich Chalupeck s lifetime achievement and his efforts after 1968 to encourage unofficial avant-garde art particularly to maintain its independence and the unbroken continuity with the Czech modern art tradition and European art. He strove to build bridges between artists of different outlooks and generations and prevent further spiritual and moral decay. In spite of great age and the depth and breadth of his knowledge he remained accessible to nascent trends and always supported young artists. That is why the award is made to young artists with unusual skills to acquire immediate experience of contemporary trends in world art. The aim of the founders of the Jindfiich Chalupeck Association is to help raise the standards of Czech modern art and honor the memory and intellectual achievement of Jindfiich Chalupeck who devoted his entire life to the cause of Czech modern art.