Instytut Historii Sztuki <Posen> [Editor]
Artium Quaestiones — 11.2000

Page: 137
DOI issue: DOI article: DOI Page: Citation link: 
https://digi.ub.uni-heidelberg.de/diglit/artium_quaestiones2000a/0139
License: Free access  - all rights reserved Use / Order
0.5
1 cm
facsimile
MODERNISM AND TOTALITARIANISM II

137


20. Jan Kubićek, “Variableness”, 1967, private collection
group as well as the Slovak artist Milan Dobeś.59 In a sense, the finał
moment of that phase of neo-constructivism in Czechoslovakia (which
does not really mean the end of the whole movement, in spite of the sup-
pression of the Prague Spring) was an exhibition called “Nova Citlivost,”
initiated by Jiri Kolar and shown in the spring of 1968 in Brno and Kar-
love Vary, and in the fali of the same year in the Prague Manege. Neo-
constructivists played in that exhibition a significant role.60 That exhibi-
09 V. Havranek, “Pomijive a rozptylene. Kineticke umeni v Ćeskoslovensku, 1957-
1970” [Transient and Dispersed. Kinetic Art in Czechoslovakia, 1957-1970], in: Akce,
Slovo, Pohyb, Prostor/ Action, Word, Mouement, Space, ed. V. Havranek, Praha: Galerie
hlavniho mesta Prahy, 1999, p. 078-101 [377-384],
60 Cf. two-volume catalogue accompanying the reconstruction exhibition: Noua
Citlivost, ed. J. Hlavaćek, Litomerice: “Galeria vytvarneho umeni, 1994 [Jiri Valoch, “Vys-
tava Nova Citlivost”, p. 3-6, in the texts volume].
loading ...