WHITE GOLD
4th - 31st August, 2009

JINDRA VIKOVA (CZ)

Jindra Vikova belongs to a generation of artists who found new techniques and expressive possibilities in ceramic art in the 1970S. To Vikova that meant above all the chance to connect painting and objects and at the same time to find unusual uses for materials .From the beginning she has been interested in motifs featuring figures, and her work combines a surrealistic imagination and Dadaist games. Her work always has a deeper subtext which speaks of mutual relations, human desire and dialogue with one’s surroundings.

Jinara ViKova’s work has seen her placed in an international context from the beginning. At the same time she also crosses the borders which connect her with ceramic art. Her pieces, installations, paintings and works with photo-material always have an existential character, which corresponds to her constant search for new expressive possibilities.

If we follow Jindra Vikova’s work over time it is clear that she has always sought the most economical and simplest form of expression. In the 1980s she produced symbolic heads and faces. Their secondary attributes are in some cases intensified by painting. At the same, time however, there are signs of a certain conceptual approach which the artist has to this day. Her works become a metaphor for human actions.

Of the artist’s work in the 1990s, her porcelain heads are the most important. Thin, as if cut from paper, they absorb only the light surrounding them and create their own poetry .The 1990s indeed were full of other new approaches. Her torsos are full of disquieting secrets and transformations. At the turn of the old and new millennia Jindra Vikova has surprisingly come out with many new works which appeal to us by force of their intimate human character and the form of the installation.

Procreation suggests an expectation that a palm print or artistic sign can suffice to evoke further ideas about presence in time and its passing. In the same period she has also created a series of human figures, most of them in curled up positions, accompanied by real objects. Like a measure of fate between the living and the non-living, the contrast of a borderline.


Jindra Vikova Prágában, az Iparm?vészeti Egyetemen diplomázott kerámia-porcelán szakon. Kiállításait láthatta a közönség az Egyesült Államokban, Olaszországban, Belgiumban, Németországban, Hollandiában, Kubában, Magyarországon, Koreában, Kínában, Irakban, Törökországban, Franciaországban, Svájcban, Japánban, Ausztráliában…. Szakmai munkásságának fontos momentumai a szimpóziumokon, workshopokon, nemzetközi m?vészeti versenyeken való részvétel, gyakran kérik föl el?adásokra, prezentációkra világszerte. A nagyközönség f?leg kerámia és porcelán szobrait ismeri. Az 1990-es évek elejét?l a kollázs és assemblage áll érdekl?dése középpontjában.

Jindra Vikova ahhoz a m?vészgenerációhoz tartozik, akik a 70-es években új technikákat és kifejezési lehet?ségeket találtak a kerámiam?vészetben. Vikova estében ez els?sorban a kép és a tárgy összekapcsolását jelentette, valamint szokatlan anyaghasználatot. A kezdetekt?l érdekl?dik az alakokat jellemz? motívumok iránt, munkáiban ötvöz?dik a szürrealisztikus fantázia és a dadaista játék. Alkotásainak mindig van egy mélyebb szöveg mögötti jelentése, mely a közös kapcsolatokról, az emberi vágyakról és a környezetünkkel való párbeszédr?l beszél.


Her work is included in collections of many international institutions

Czech Republic
Narodni galerie, Prague
Moravska galerie, Brno
AJG Bechyne
Umeleckoprumyslove muzeum Prague
Severoceske museum, Liberec,
Galerie umeni Cheb
Agency of Czech Ceramic Design, Cesky Krumlov.

Slovakia
Galerie Nove Zamky
Novohradska Galerie, Lucenec
Beladice

International
International Ceramics Studio, Kecskemet, Hungary
Ceramic Museum, Faenza,
Museum Maranatha, Lutach, Italy
Ceramic Muzeum, Frechen
Wurttembergisches Landesmuseum, Stuttgart
Museum for Modern Ceramics, Deidesheim
Romhild Museum, Germany
City Hall, Herk-de-Stad, Belgium
Ceramic Center Skaelskor, Danmark
Benaki Museum, Athens, Greece
Ceramic Collection of The University of Waless Aberystwyth, G.B
Ariana Museum, Geneva, Switzerland
Boleslawiec Museum, Poland
Walbrzych Museum, Poland
Victoria Museum, Melbourne
Canberra University
Shepparton Art Gallery
Power House Museum, Australia
The Clay Studio Philadelphia
Walla Walla Foundry Washington
Mobil Museum of Art, Mobile, Alabama,
Silbers Collection, Laguna Beach, CA,
Sitka Center for Art and Ecology, USA
Auckland Institute and Museum, New Zealand
Icheon World Ceramic Center, Korea
Hanhhyanglim Gallery & Jay Collection, Korea
Saga Prefecture, Saga, Japan
Taipei Fine Arts Museum, Taiwan, China
Izmir University
Canakkale Seramic Kalebodur Museum, Turkey

Awards
2001 Jury Awards, The 1st World Ceramic Biennale, Korea
Diplom 35 Premio Nazionale di Pittura, Italy
1997 Teepot of the Year, Agentura of Czech Ceramic Design, Cesky Krumlov, CZ
1988 First Prize, International Art Festival, Baghdad, Iraq
1986 Gold medal Vallauris, France
Grand Prix, Triennale de la Porcelaine, Nyon, Switzerland
Honorable Mention, Ceramic festival, Mino, Japan
Gualdo Tadino, Italy
1984 Gold medal, Faenza, Italy
1981 Premio Acquisto, Faenza, Italy
1976 Product of the Year, porcelain factory Duchcov, CZ


Please email Steve at icshu@hotmail.com for information about participation in this course.


International Ceramics Studio
H-6000 Kecskemét, Kápolna u.11, Hungary
tel: +36 76 486 867
email: icshu@hotmail.com