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Grygar - Prekop

Štěpán Grygar - Bez názvu 2008
Štěpán Grygar - Bez názvu 2005
Šťepán Grygar - Bez názvu 1998
Reálovky 1989-2009 - Rudo Prekop
Reálovky 1989-2009 - Rudo Prekop
Reálovky 1989-2009 - Rudo Prekop
15. 5. 2009 - 4. 7. 2009
Rudo Prekop
Štěpán Grygar

Pedagogues of Film and Muses Arts Academy of Prague and their latest works.

Štěpán Grygar profits from what reality offers, that surrounds him and does not distract him with other meanings, nor connects him with his own senses and yet touches it with his feelings just by what he chooses and what form he gives to it. He doesn’t manipulate with the known world violently, he handles it sensibly and modifies the situations so that they bring a new message, that wasn’t visible and makes it clear in circumstances in which he finds it. He helps the situtations to speak the way he intends them to. Grygar tries to see what taste the objects, nature or city have, as seen by his eyes. He captures, composes, confronts, searches for the whole and detail and re-imagines what’s offered to him. He doesn’t perceive the known world only by direct angle, because it wouldn’t represent it accurately. He wants to explore differently, to show the reality in a new way.” PhDr. Miroslava Hlaváčková

In Rudo Prekop’s ‘Reálovky’, we can often meet with simple natural motives and footprints of human civilization in landscape. Strange, sometimes absurd connections take place in some of the images. In some other, we can see exact expression of atmosphere of a certain place, a cut from the reality that lets us perceive and understand the whole by narrowing down the frame. Author wants not only to capture his relation to a landscape, but also to register every-day situations from which the whole life consists of. In a sense, he makes his own photographic diary of sorts, in which he continualy uncovers the visual stories. Various layers of reality interfere in these - on different levels of thoughts. Rudo Prekop collects these images, to create a colorful mosaic of our time, to describe inter-changing of different meanings and times and to chalk out the fortune of unexpected context. In a way, he had chosen a similar approach as once did Jiří Kolář, who also came to realize that in conteporary art, an influence of past generations has to be hand in hand with the living reality of the present with hints for the future.” Jiří Machalický