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ČOSDAT

Česká organizace scénografů, divadelních architektů a techniků

Vladimír Houdek

* 1984, painter

 

Vladimír Houdek originally studied Window Dressing and in 2007 started studying painting at the Vladimír Skrepl Studio at the Academy of Fine Arts in Prague. In 2009 he completed his semester internship in the studio of the visiting artist at the Šaloun Studio, under the leadership of prof. Jan Merta, which he repeated in 2011 – this time under the leadership of prof. Silke Otto-Knapp. In 2011 he attended the art symposium in Mikulov (“dílna” 2011). Since 2008, he exhibited in the Czech republic (e.g. Chlapec náprstník, Jelení Gallery, 2010; Melancholie, The Moravian Gallery in Brno, 2011; Hmota z délky ohybu, National Gallery in Prague, 2013) and abroad (e.g. The Murk of Dawn, Schleicher/Lange, Berlin, 2014; Reaktion, Galerie Kai Erdmann, Hamburg, 2015; Relations, Galerie Krinzinger, Vienna 2016). Vladimír Houdek was awarded with the Critics’ Prize for Young Painting in 2010 and the Jindřich Chalupecký Award in 2012.

Learn more: www.vladimirhoudek.com

 
 

„What artwork did you find interesting in the past few months?“

„I was fascinated by an exhibition in the Rudolfinum Gallery where the works of German artist Eberhard Havekost were exhibited. His paintings are immensely artful and erudite. The way that Havekost alternates with a realistic and abstract position perfectly reflects our coexistence in this „real“ world, full of diverse theories, scientific or consumer states that surround us with such obviousness as our certainty in constant doubt and search for the original intent „here and now“.“

 

„What does today’s scenography mean to you?“

„I’m interested in film or stage collages of painting and dance, that are seeking a definition of the relation between the language of the image and the body in motion. My first collaboration with the choreographer Hana Polanská was in 2013 during preparations of a performance. This experience awakened my desire to continue with the experimental overlap of painting into stage design and to work with the movement, also because we both are interested in the interwar avant-garde.”