NEWS | December 16, 2015

At the age of 80 years died Monday, December 14 sculptor Aleš Veselý. He devoted himself to painting, drawing and installation, but became famous thanks to the monumental works of sculpture. Olomouc Museum of Art with Aleš Veselý long-term cooperated. Representative examples of his work are part of museum collections, but also his famous giant statue of “Kaddish – A prayer for the dead” should dominate the entrance of the new building of the Central European Forum Olomouc.

Creation of Aleš Veselý was formed in the generation of artists who sought a way out of ideological stereotypes as dictated by Socialist Realism and a newfound modernism. Interested in the possibilities of working with painting and sculpture material, they wanted it means to express their inner feelings and philosophical views. Their generational performances were two unofficial exhibitions Confrontation I and Confrontation I II, the second of which was held in the studio Aleš Veselý.

Presence on both exhibitions was for Aleš Veselý important moment from which unfolded his next creation through participation in the Biennial of Young Artists in Paris (1965), which won the Critics Award at the statue Chairs usurper, after the invitation to the International Symposium on Spatial Forms in Ostrava (1967 ), where he had the first opportunity to work with large formats. Was established there nowadays probably the most significant Czech sculpture of the second half of the 20th century Kaddish – A prayer for the deceased (1967 – 1968).

Exactly this monumental work was to be erected before entering the Central European Forum Olomouc. In 2010, the museum even took advantage of the exhibition in Litomyšl Aleš Veselý, the local monastery gardens build by the twelve-meter scaffolding and simulated various locations seven-meter statue. Central European Forum project did not receive European grant and cooperation did not happen.

However, in the museum collections received one of seven three-meter steel sculptures, which were created in the late 60s – Spider Tower. That option should be preparatory to a statue Tower – Bell, which wanted Aleš Veselý participate in the competition for the Terezín Memorial (1968). On contrasts lability and stability, mass and fragility built a sculpture evoking the oppressive atmosphere of the place. Both the materials used and the method of their application and existential thought background puts Aleš Veselýs work in the context of world-famous artists such as Jean Tinguely or Richard Stankiewicz.

Honour to his memory!