It is August and the family gathers in the summer house located in south Moravia. We start discussing current affairs in the evening and the obvious topics of Czech and British politics dominate as usual. This is followed by the inevitable complaints about the state of the motorway between Prague and Brno which has been in constant repairs for years and the end is not in sight. Someone suggests that perhaps a crew of guerrilla builders should finish the repairs on the motorway overnight. This is a reference to a guerrilla cleaner who recently, of his own accord, removed an illegal graffiti from the Charles Bridge in Prague. The National Heritage Institute had put together a several week long plan for the removal work which for them required a careful and laborious work under close supervision. Instead, one morning the graffiti is simply gone, cleaned by high pressure steam by a Mr Černý, an independent contractor. Continue reading
In 2008, the city of Cedar Rapids in Iowa was hit by a terrible flood caused by heavy rainfall and overflown local river. The water reached unprecedented 31 feet above the normal level and flooded nearly 8,000 properties. In financial terms, the losses to property were calculated at $6 billion. But how is a flooded city in the American Midwest linked to an idyllic rural scene by a Czech artist?
Krásná jizba, translated as “The Beautiful Room”, was a Prague based institution which advanced modern design in interwar Czechoslovakia. Founded in 1927, it was behind the promotion and sale of homeware products, such as dining and tea sets, glassware, furniture, and textiles, which put emphasis on functionality and aesthetic appearance together with their affordability. The newly refurbished Museum of Decorative Arts in Prague recently focused on this organisation in an extensive exhibition titled Krásná jizba dp 1927-1948: Design for Democracy, which closed on 3 March 2019. The curator, Lucie Vlčková, and her team presented the work of many designers, photographers and artists, including Ladislav Sutnar, Josef Sudek, Ludvika Smrčková, Toyen, or Antonín Kybal, indicating the extensive range of production of this key institution.
The important year of anniversaries related to the history of Czechoslovakia is nearly over. Many art galleries and museums in the Czech Republic have commemorated them by a variety of exhibitions and accompanying events. The foundation of Czechoslovakia one hundred years ago in October 1918 is the most referred to date, as it is portrayed as the beginning of a new, democratic era. In the visual arts, this period is also easily linked to the rise of new modernist language framed in the official progressive and internationally oriented narrative of the Czechoslovak state.
Following the collapse of the Austro-Hungarian Monarchy, the brand new state of Czechoslovakia was founded on 28 October 1918. Unifying several provinces with no previous historic connections – Bohemia, Moravia, Czech-speaking Silesia, Slovakia and Subcarpathian Ruthenia -, it was a multiethnic state that nevertheless sought to construct a single, encompassing national identity for its citizens. On the occasion of the 100th anniversary, Dr Marta Filipová, a member of the CRAACE team, has written an article about the complex identity politics of Czechoslovakia for the University of Birmingham website. Read it here.