Posts Tagged ‘Josef Koudelka

24
Nov
15

Exhibition: ‘Josef Koudelka: Uncertain Nationality’ at Fundación MAPFRE, Madrid

Exhibition dates: 10th September – 28th November 2015

The exhibition is organized by the Art Institute of Chicago and the J. Paul Getty Museum in association with Fundación MAPFRE.

Curator: Matthew Witkovsky, Richard and Ellen Sandor Chair and Curator Department of Photography of the Art Institute of Chicago

 

 

Without reminding myself every so often, you actually forget just what a master of photography Josef Koudelka is.

Looking at the installation photographs below, without knowing the names of the individual images, is instructive. Notice how graphically strong his organisation of the picture plane is. Usually one or two, three at the most, strong vertical or horizontal elements – dark on dark, light on dark; man and hovercraft; figures on pavement; women, tree and building; assemblages of objects and light.

I believe all of his work links back to his sense of the theatre of memory, whether it be the landscapes and sceneries of the outdoors taken in Prague, and on trips to Slovakia, Poland and Italy or the psychological interior of the mind of his theatre characters as he portrays them through photography. From the mystery and exoticism of the Gypsies series, to the recording of history, time and conflict of the Invasion photographs (witness the Hand and wristwatch). From the metaphysical symbols of isolation (lost animals, lonely figures, scattered objects and displaced Gypsies) in Exiles, which is the core of the Koudelka vital experience, to the destruction of ancient archaeological sites and depictions of places that have been mined, swept away or marked by the scars of industrialisation, devastated by wars and altered by time in his panoramic format photographs.

These theatres of the divine, theatres of the mind are ‘Theatres of Memory’ in which the 16th century Italian philosopher Guilio Camillo asks the question: How is the motion of the memory connected with the motion of history? How is the personal political?

Koudleka’s probing of this question is present in every one of his images. Through his inquiry “he maintains a total unity through the photographer’s vision.” The artist forms mental and physical images of the things he wants to remember, that he wants us to remember, using theatrical spaces… and his subjective thoughts bind us, closely, to collective memories.

“History… is a nightmare from which I am trying to awake.” – James Joyce, Ulysses

Marcus

.
Many thankx to Fundación MAPFRE for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

“FUNDACIÓN MAPFRE presents the most complete retrospective exhibit up to this day dedicated to the Czech photographer of French nationality Josef Koudelka (n. 1938), member for the past forty years of Magnum Photos agency.

Engineer by profession, Koudelka became committed to the photographic medium in the middle of the sixties and became one of the most influential authors of his generation. Halfway between the artistic and documentary, Josef Koudelka is now a living legend. He has received prestigious awards in recognition of his work, among others, the Grand Prix National de la Photographie (1989), the Grand prix Cartier-Bresson (1991), and the International Award in Photography of the Hasselblad Foundation (1992).

This exhibition goes through his entire trajectory that covers more than five decades of work. The extense selection with more than 150 works reflects his first experimental projects produced at the end of the fifties and during the sixties, as well as his historic series Gypsies, Invasion and Exiles and reaching the great panoramic landscapes produced in the last years. In addition the exhibition includes important documental material, the majority unpublished -layouts, pamphlets, magazines of the period among others-, that allows us to delve into the work as well as the creative process of this author.

The title of the exhibition is Uncertain Nationality, which describes the sense of not belonging to a place, a sense of disorientation so present in his work since his exile from Czechoslovakia after the invasion of Prague, and his permanent interest in territories in conflict.”

Press release from Fundación MAPFRE

 

 

Entrance view of the exhibition 'Josef Koudelka: Uncertain Nationality' at Fundación MAPFRE, Madrid

 

Entrance view of the exhibition Josef Koudelka: Uncertain Nationality at Fundación MAPFRE, Madrid

 

Installation view of the exhibition 'Josef Koudelka: Uncertain Nationality' at Fundación MAPFRE, Madrid

Installation view of the exhibition 'Josef Koudelka: Uncertain Nationality' at Fundación MAPFRE, Madrid

Installation view of the exhibition 'Josef Koudelka: Uncertain Nationality' at Fundación MAPFRE, Madrid

 

Installation views of the exhibition Josef Koudelka: Uncertain Nationality at Fundación MAPFRE, Madrid

 

 

Introduction

In the mid-1950s, when a new youth culture characterised by an open mindset was beginning to emerge in Czechoslovakia following the death of the Soviet leader Joseph Stalin and after two decades of brutal repression, Josef Koudelka (born in Czechoslovakia in 1938 and nationalised French) left his village in Moravia and moved to the capital, Prague. An aeronautical engineer by training, Koudelka became very actively involved in photography in the mid-1960s, contributing to the creative renaissance that took place in his native country.

Koudelka not only immortalised these years with his camera but also embodied them. He spent lengthy periods in gypsy encampments in Slovakia, he compulsively photographed actors during play rehearsals, and he mingled with demonstrators and soldiers in August 1968 in order to capture the invasion of Prague by the Soviet troops. When Koudelka went into exile shortly afterwardshe acquired the official status of “nationality doubtful”, becoming a stateless person as he was unable to produce documentation proving that he was born in Czechoslovakia. He refused to be intimidated by this situation, however, and continued to travel and take photographs, allowing gypsy communities and traditional and religious festivals to decide his destinations.

Koudelka settled in Paris in the 1980s and after the fall of Communism returned to Prague in 1990 where he now has a second home. Nonetheless, he continues to be a traveller, committed over the past twenty-five years to the creation of panoramic photographs that depict landscapes around the world which have been altered and often devastated by the hand of man.

This exhibition encompasses Josef Koudelka’s entire career, spanning more than five decades of work. The comprehensive selection of images on display includes his first experimental projects of the 1950s and 1960s and his historic series Gypsies, Invasion and Exiles, concluding with the great panoramic landscapes of recent years. In addition, visitors will see important documentary material, most of it previously unpublished and including layouts, leaflets and magazines of the period which contribute to a deeper understanding of this artist’s work and creative process.

 

Installation view of the Theatre section of the exhibition 'Josef Koudelka: Uncertain Nationality' at Fundación MAPFRE, Madrid

Installation view of the Theatre section of the exhibition 'Josef Koudelka: Uncertain Nationality' at Fundación MAPFRE, Madrid

Installation view of the Theatre section of the exhibition 'Josef Koudelka: Uncertain Nationality' at Fundación MAPFRE, Madrid

 

Installation view of the Theatre section of the exhibition Josef Koudelka: Uncertain Nationality at Fundación MAPFRE, Madrid

 

 

Early years + theatre

Early years and Experiments

Josef Koudelka was immersed in the ambiance of liberalization that occurred in Czechoslovakia after the death of Josef Stalin in 1953 who had subjected the country to a brutal repression for two decades. Koudelka began to photograph professionally in 1958 and create a series of landscapes and sceneries of the outdoors taken in Prague, and on trips to Slovakia, Poland and Italy. Right away, the camera accompanied him on all of his trips, which would herald his impulse to work as an independent photographer and nomad for more than forty years.

Koudelka dates his first serious photographic activity to 1958. Between that date and 1962 he produced a body of work which encompassed landscapes and outdoor views taken in Prague and during trips to Slovakia, Poland and Italy. Travel and its associated discoveries were a permanent stimulus to his creativity as a photographer. During these early years Koudelka assiduously studied the possibilities of giving form to the photographic image before and after the actual shot was taken. Initially, he inclined to manipulation subsequent to exposure, such as cropping and the use of experimental techniques in the dark room.

The Theatre

In the 1960s Koudelka worked free-lance for the most important Czech theatrical companies, Divadloza Branou (Theatre behind the Door) and Divadlona Zábradlí (Theatre on the Balustrade). As such, he evolved a new way of photographing that involved the repetition and prior visualisation of the image. Working rapidly and close to the actors on the stage while they were rehearsing, Koudelka constantly moved around them until he had the desired image in his mind. The harsh, exaggerated theatrical lighting proved difficult to photograph, obliging him to force the development of his films with low exposures. Ultimately, a detail that interested him in an image might only occupy a small part of the negative and thus required significant blowing-up and laborious manipulation during the developing process in order to obtain a legible copy. Koudelka’s images of theatrical performances were used for promotional purposes and often appeared on the front cover and in the pages of the magazine Divadlo (Theatre).

Text from the Fundación MAPFRE Josef Koudelka website

 

Josef Koudelka. 'An Hour of Love by Josef Topol, Divadlo za branou [Theater behind the Door], Prague' 1968

 

Josef Koudelka
An Hour of Lov
e by Josef Topol, Divadlo za branou [Theater behind the Door], Prague
1968
© Josef Koudelka/Magnum Photos

 

Josef Koudelka. 'Theatre on the Balustrade, King Ubu (by playwright Alfred Jarry), Prague' 1964

 

Josef Koudelka
Theatre on the Balustrade, King Ubu (by playwright Alfred Jarry), Prague
1964
© Josef Koudelka/Magnum Photos

 

Josef Koudelka. 'Alfred Jarry's Uburoi, Divadlo na zábradlí, Prague' 1964

 

Josef Koudelka
Alfred Jarry’s Uburoi, Divadlo na zábradlí, Prague
1964
Gelatin silver, early print
© Josef Koudelka / Magnum Photos

 

Josef Koudelka. 'Czechoslovakia' 1960

 

Josef Koudelka
Czechoslovakia
1960
Gelatin silver, early print
The Art Institute of Chicago, gift of the artist
© Josef Koudelka / Magnum Photos

 

Installation view of the Gypsies section of the exhibition 'Josef Koudelka: Uncertain Nationality' at Fundación MAPFRE, Madrid

Installation view of the Gypsies section of the exhibition 'Josef Koudelka: Uncertain Nationality' at Fundación MAPFRE, Madrid

Installation view of the Gypsies section of the exhibition 'Josef Koudelka: Uncertain Nationality' at Fundación MAPFRE, Madrid

 

Installation view of the Gypsies section of the exhibition Josef Koudelka: Uncertain Nationality at Fundación MAPFRE, Madrid

 

 

Gypsies

In 1961 Koudelka started to take photographs in villages and gypsy encampments. He initially continued with his habitual employment as an engineer but this photographic endeavour soon became a project that would define his artistic career and give rise to the series Gypsies. He returned again and again to around eighty different places in Slovakia and the Czech regions of Moravia and Bohemia (now part of the Czech Republic), principally between 1963 and 1970, taking thousands of photographs from which he selected various hundreds and finally a few dozen that he most preferred, entitling them with the name of the place where they were taken. The varied compositions – interiors, individual and group portraits, and landscapes – allow the subjects space to be themselves while maintaining a total unity through the photographer’s vision. These works also constitute views onto a world which seemed very exotic at that time, even for other Czechs and Slovaks, but which was nonetheless quite self-sufficient and as universally accessible as ancient myths.

The first exhibition of this series, held in the lobby of the Divadloza Branou (Theatre behind the Door) in Prague in March 1967, only included twenty-seven photographs. The twenty-two prints that have survived from that event are included in the present exhibition, mounted on their original panels and displayed as a group, as they were almost fifty years ago.

 

Josef Koudelka. 'Bohemia' 1966

 

Josef Koudelka
Bohemia
1966
Gelatin silver, print 1967
The Art Institute of Chicago, gift of the artist
© Josef Koudelka / Magnum Photos

 

Josef Koudelka. 'Moravia (Strážnice)' 1966

 

Josef Koudelka
Moravia (Strážnice)
1966
Gelatin silver, print 1967
Art Institute of Chicago, gift of the artist
© Josef Koudelka / Magnum Photos

 

Josef Koudelka. 'Slovakia' 1963

 

Josef Koudelka
Slovakia
1963
Gelatin silver, print 1967
The Art Institute of Chicago, promised gift of the artist
© Josef Koudelka / Magnum Photos

 

Josef Koudelka. 'Romania' 1968

 

Josef Koudelka
Romania
1968
Gelatin silver, print 1980s
The Art Institute of Chicago, promised gift of Robin and Sandy Stuart
© Josef Koudelka / Magnum Photos

 

Josef Koudelka. 'Slovakia' 1963

 

Josef Koudelka
Slovakia
1963
Gelatin silver, print 1967
The Art Institute of Chicago, Amanda TaubVeazie Endowment and Photography Gala Fund
© Josef Koudelka / Magnum Photos

 

Installation view of the Invasion section of the exhibition 'Josef Koudelka: Uncertain Nationality' at Fundación MAPFRE, Madrid

 

Installation view of the Invasion section of the exhibition Josef Koudelka: Uncertain Nationality at Fundación MAPFRE, Madrid

 

 

Invasion

In August 1968, shortly after returning to Czechoslovakia after a trip to Rumania where he had gone to photograph gypsy encampments, Koudelka woke up early one morning to discover that the Warsaw Pact forces led by the Soviet Union had invaded Prague. He immediately loaded his Exakta Varex camera with East German film and went out onto the street, tirelessly photograph the devastating occupation between 21 and 27 August. Koudelka climbed on tanks, encountered soldiers armed with machine guns (as did the demonstrators alongside him), and photographed the innumerable slogans and posters which appeared every day on the city’s walls and were then removed by the invading forces every evening. Koudelka penetrated into the heart of the resistance. A new era was dawning and his photographs became a powerful reminder of how that change first began.

His images became a document of the conflict and symbol of the spirit of the resistance movement. The rolls of film that he used to photograph the Prague struggle ended up in Western Europe illegally and the Koudelka images appeared in newspapers and magazines around the world. Koudelka spent that winter editing his photographs, selecting just a handful from among thousands of images. Finally, the negatives were smuggled out to the United States and with the help of the Magnum Photos agency were distributed to magazines and newspapers around the world on the occasion of the first anniversary of the invasion in 1969. Prior to 1984, when they were publicly exhibited for the first time in London with Koudelka’s name attached to them, these images were published anonymously and only attributed to “P.P”, standing for “Prague Photographer”, in order to avoid possible reprisals against Koudelka and his family.

 

Josef Koudelka. '(Czech citizen on sidewalk, wearing jacket with target)' 1968

 

Josef Koudelka
(Czech citizen on sidewalk, wearing jacket with target)
1968
Gelatin silver print, early print
© Josef Koudelka / Magnum Photos

 

Josef Koudelka. '(Czech citizen on tank)' 1968

 

Josef Koudelka
(Czech citizen on tank)
1968
Gelatin silver print, early print
The Art Institute of Chicago, promised gift of a private collector
© Josef Koudelka / Magnum Photos

 

Josef Koudelka. 'Hand and wristwatch' 1968

 

Josef Koudelka
Hand and wristwatch
1968
Invasion by Warsaw Pact troops. Prague, Czechoslovakia, August 1968
Gelatin silver, print 1990
© Josef Koudelka / Magnum Photos

 

Josef Koudelka. 'At the Czechoslovak Radio building, Vinohradská Avenue' 1968

 

Josef Koudelka
At the Czechoslovak Radio building, Vinohradská Avenue
1968
Invasion by Warsaw Pact troops. Prague, Czechoslovakia, August 1968
Gelatin silver print, early print
© Josef Koudelka / Magnum Photos

 

Josef Koudelka. '(Two Czech citizens with flag)' 1968

 

Josef Koudelka
(Two Czech citizens with flag)
1968
Invasion by Warsaw Pact troops. Near the Radio Headquarters. Prague, Czechoslovakia, August 1968
Gelatin silver print, early print
© Josef Koudelka / Magnum Photos

 

Installation view of the Exiles section of the exhibition 'Josef Koudelka: Uncertain Nationality' at Fundación MAPFRE, Madrid

Installation view of the Exiles section of the exhibition 'Josef Koudelka: Uncertain Nationality' at Fundación MAPFRE, Madrid

Installation view of the Exiles section of the exhibition 'Josef Koudelka: Uncertain Nationality' at Fundación MAPFRE, Madrid

 

Installation view of the Exiles section of the exhibition Josef Koudelka: Uncertain Nationality at Fundación MAPFRE, Madrid

 

 

Exiles

In 1970 Koudelka left Czechoslovakia for Great Britain, where he lived until he moved to France in 1980, obtaining French citizenship in 1987. During his years of exile he worked tirelessly, travelling during the spring and summer in order to photograph traditional festivals and gypsy events in various countries in Western Europe, principally the UK, Ireland, Italy and Spain, then retiring to his darkroom in the winter. During this period of his life Koudelka made numerous friends on his travels and through his association with Magnum Photos. He remained totally independent, however, refusing to rent an apartment or accept commissions in order to retain control of his artistic output and to be in complete charge of his agenda. His enigmatic photographs of these years evoke his own feelings of isolation through images of animals running free, lone figures, abandoned objects and displaced gypsies, although his work presents these feelings of solitude and distance in very broad terms.

Josef Koudelka left Czechoslovakia in 1970 and petitioned to exile to the United Kingdom. While he was in exile, he continued to work throughout Europe on those routes marked by Gypsy religious festivals and folklore that are held annually. The alienation that he felt for not belonging to a nation is reflected in his Exiles work that shows symbols of isolation (lost animals, lonely figures, scattered objects and displaced Gypsies) which is the core of the Koudelka vital experience. Unclear nationality refers to the legal status that appears in the author’s travel documents each time he returned to the United Kingdom, his home base during the first decade of exile, since he did not have a Czechoslovakian passport and could not prove his birthplace.

The subjects in the series Exiles are not limited to a specific group or period, and while they are based on Koudelka’s own everyday experiences during his stateless period, they are more metaphysical than physical. Here autobiography and reportage maintain a relationship of productive tension.

 

Josef Koudelka. 'France' 1976

 

Josef Koudelka
Still Life (Newspaper), France
1976
Gelatin silver, early print
© Josef Koudelka / Magnum Photos

 

Josef Koudelka. 'Parc de Sceaux, Hauts-de-Seine, France' 1987

 

Josef Koudelka
Parc de Sceaux, Hauts-de-Seine, France
1987
Gelatin silver, early print
© Josef Koudelka / Magnum Photos

 

Josef Koudelka. 'Czechoslovakia' 1968

 

Josef Koudelka
Czechoslovakia
1968
Gelatin silver, early print
© Josef Koudelka / Magnum Photos

 

Josef Koudelka. 'Ireland' 1972

 

Josef Koudelka
Ireland
1972
Gelatin silver, early print
© Josef Koudelka / Magnum Photos

 

Installation view of the Panoramas section of the exhibition 'Josef Koudelka: Uncertain Nationality' at Fundación MAPFRE, Madrid

Installation view of the Panoramas section of the exhibition 'Josef Koudelka: Uncertain Nationality' at Fundación MAPFRE, Madrid

 

Installation view of the Panoramas section of the exhibition Josef Koudelka: Uncertain Nationality at Fundación MAPFRE, Madrid

 

 

Panoramas

Since 1986 Koudelka has been taking photographs with panoramic cameras. His first project, commissioned by the Mission Photographique Transmanche, depicted the landscape of northern France affected by the construction of the Channel Tunnel. Since then he has used the broad panoramic format to depict places that have been mined, swept away or marked by the scars of industrialisation, devastated by wars and altered by time. The artist’s most recent panoramic photographs show important remains of past civilisations discovered on archaeological sites in twenty countries, particularly those bordering the Mediterranean.

Since 1986, Koudelka was using a panoramic camera. He uses this expanded format to show territories devastated by conflicts or altered with the passage of time. These images are the core of his impressive foldout publications such as Black Triangle or Chaos that shows scenery on the edge of ruins.

In 2007 Koudelka was invited along with eleven other photographers to take part in a project to explore the complex situation in Israel and Palestine. Despite his initial doubts, he accepted on the condition that he should be allowed to work as he wished and that he could focus on the wall in the West Bank and the area surrounding it on both sides. Having “grown up in Czechoslovakia, behind a wall”, Koudelka immediately pinpointed this barrier, with its physical, environmental and metaphorical connotations, as the subject that most interested him. This extensive system of concrete walls and barbed-wire fences allowed him to take full advantage of the broad panoramic format that he had been using since the 1980s, while the subject also gave him the opportunity to focus on the region’s landscape.

More recently, Josef Koudelka used this format to document the border of the West Bank and the territories that surround it such as the Negev desert or the Golan Heights. This work, Wall, urges the spectator to see the desolation of vast scenery dominated by walls, barbed-wire fences, access roads and borders. In the exhibition, there is a selection of copies from this work together with the book published in 2014. The panoramics are impressive objects that are between 1.2 and 1.8 m long. In these panoramics we perceive a scenery created by the man that tells his story, as well as the transformations that he has suffered due to human pillage, meaning: through his photographs we see man as creator and destroyer of the world.

Between 1991 and 2015, Josef Koudelka visited twenty countries bordering the Mediterranean, stopping at over two hundred Greek and Roman archaeological sites to create his series Archaeology. This was an unprecedented exploration which has not yet been completed – Koudelka keeps visiting archaeological sites in Greece, Turkey, Tunisia, Algeria, Syria, Jordan, Egypt, Lebanon and other Mediterranean countries – searching not for the documents of the sites, but for the most perfect images of their existence.

 

Josef Koudelka. 'France (Nord Pas-de-Calais)' From the series 'Chaos', 1989

 

Josef Koudelka
France (Nord Pas-de-Calais)
From the series Chaos, 1989
Inkjet, print 2013
© Josef Koudelka / Magnum Photos

 

Josef Koudelka. 'Lebanon (Beirut)' From the series 'Chaos', 1991

 

Josef Koudelka
Lebanon (Beirut)
From the series Chaos, 1991
Gelatin silver, print 1999
© Josef Koudelka / Magnum Photos

 

Josef Koudelka. 'Jordan (Amman)' from the series 'Archaeology', 2012

 

Josef Koudelka
Jordan (Amman)
from the series Archaeology, 2012
Inkjet print, 2013
© Josef Koudelka / Magnum Photos

 

Josef Koudelka. 'Israel-Palestine (Al 'Eizariya [Bethany])' From the series 'Wall', 2010

 

Josef Koudelka
Israel-Palestine (Al ‘Eizariya [Bethany])
From the series Wall, 2010
Inkjet, print 2014
© Josef Koudelka / Magnum Photos

 

 

Fundación MAPFRE – Instituto de Cultura
Paseo de Recoletos, 23
28004 Madrid, Spain
T: +34 915 81 61 00

Opening hours:
Sunday 11.00 am – 7.00 pm
Monday 2.00 – 8.00 pm
Tuesday 10.00 am – 8.00 pm
Wednesday 10.00 am – 8.00 pm
Thursday 10.00 am – 8.00 pm
Friday 10.00 am – 8.00 pm
Saturday 10.00 am – 8.00 pm

Fundación MAPFRE website

LIKE ART BLART ON FACEBOOK

Back to top

06
Sep
14

Exhibition: ‘Josef Koudelka: Nationality Doubtful’ at the Art Institute of Chicago

Exhibition dates: 7th June – 14th September 2014

 

One of the greats – mainly for his series GypsiesInvasion and Exiles.

Powerful images – strong, honest, respectful, beautifully composed but above all gritty, gritty, gritty. There is a dark radiance here, an ether/reality, as though the air was heavy with melancholy, emotion, loss, violence, isolation and, sometimes, love. No wonder he describes his work as a “theater of the real.” Humanism, and photography, at its most essential.

Marcus

.
Many thankx to the Art Institute of Chicago for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

“I try to be a photographer. I cannot talk. I am not interested in talking. If I have anything to say, it may be found in my images. I am not interested in talking about things, explaining about the whys and the hows. I do not mind showing my images, but not so much my contact sheets. I mainly work from small test prints. I often look at them, sometimes for a long time. I pin them to the wall, I compare them to make up my mind, be sure of my choices. I let others tell me what they mean. [To Robert Delpire] My photographs, you know them. You have published them, you have exhibited them, then you can tell whether they mean something or not.”

.
Josef Koudelka

 

.
Czech-born French artist Josef Koudelka belongs in the firmament of classic photographers working today. Honored with the French Prix Nadar (1978), the Hasselblad Prize (1992), and the International Center of Photography Infinity Award (2004), Koudelka is also a leading member of the world-renowned photo agency Magnum. This exhibition, his first retrospective in the United States since 1988, is also the first museum show ever to emphasize his original vintage prints, period books, magazines, and significant unpublished materials.

Koudelka became famous in anonymity through the worldwide publication of his daring photographs of the Soviet-led invasion of Prague in August 1968. Just 30 years old at the time, Koudelka had already worked for a decade, principally on Gypsies, for which he visited Roma populations for weeks at a time in his home country and later abroad over the course of years. This ambitious series beautifully combines a sense of modern history with timeless humanism.

Choosing exile to avoid reprisals for his Invasion photographs, Koudelka traveled throughout Europe during the 1970s and 1980s, camping at village festivals from spring through fall and then printing in wintertime. His photographs of those decades became the series Exiles. Since the late 1980s Koudelka has made panoramic landscape photographs in areas massively shaped by industry, territorial conflict, or – in the case of the Mediterranean rim – the persistence of Classical civilization.

Tracing this long and impressive career, this exhibition draws on Koudelka’s extensive holdings of his own work and on recent major acquisitions by the Art Institute, including the complete surviving contents of the debut presentation of Gypsies in 1967 (22 photographs), as well as ten Invasion images printed by the photographer just weeks after the event. Also on display are early experimental and theater photographs and some of the photographer’s beautifully produced books – which stretch dozens of feet when unfolded. A fully illustrated catalogue accompanies the exhibition, which after its debut at the Art Institute travels to the J. Paul Getty Museum, Los Angeles, and Fundación MAPFRE, Madrid.

Text from the Art Institute of Chicago website

 

 

Josef Koudelka. Various images from the series 'Gypsies'

Josef Koudelka. Various images from the series 'Gypsies'

Josef Koudelka. Various images from the series 'Gypsies'

Josef Koudelka. Various images from the series 'Gypsies'

Josef Koudelka. Various images from the series 'Gypsies'

Josef Koudelka. Various images from the series 'Gypsies'

Josef Koudelka. Various images from the series 'Gypsies'

Josef Koudelka. Various images from the series 'Gypsies'

Josef Koudelka. Various images from the series 'Gypsies'

Josef Koudelka. Various images from the series 'Gypsies'

Josef Koudelka. Various images from the series 'Gypsies'

Josef Koudelka. Various images from the series 'Gypsies'

Josef Koudelka. Various images from the series 'Gypsies'

Josef Koudelka. 'Jarabina, Czechoslovakia' 1963. Various images from the series 'Gypsies'

Josef Koudelka. 'Spain' 1971. Various images from the series 'Gypsies'

 

Josef Koudelka
Various images from the series Gypsies
Book printed 1975; new Aperture edition 2011

 

Aperture’s new edition of Koudelka: Gypsies (2011) rekindles the energy and astonishment of this foundational body of work by master photographer Josef Koudelka. Lavishly printed in a unique quadratone mix by artisanal printer Gerhard Steidl, it offers an expanded look at Cikáni (Czech for “gypsies” ) -109 photographs of Roma society taken between 1962 and 1971 in then-Czechoslovakia (Bohemia, Moravia and Slovakia), Romania, Hungary, France and Spain. The design and edit for this volume revisits the artist’s original intention for the work, and is based on a maquette originally prepared in 1968 by Koudelka and graphic designer Milan Kopriva. Koudelka intended to publish the work in Prague, but was forced to flee Czechoslovakia, landing eventually in Paris. In 1975, Robert Delpire, Aperture and Koudelka collaborated to publish Gitans, la fin du voyage (Gypsies, in the English-language edition), a selection of 60 photographs taken in various Roma settlements around East Slovakia.

 

Josef Koudelka. 'Czechoslovakia (Kadañ)' 1963, printed 1967

 

Josef Koudelka
Czechoslovakia (Kadañ)
1963, printed 1967
from the series Gypsies
The Art Institute of Chicago, restricted gift of Artworkers Retirement Society
© Josef Koudelka/Magnum Photos. Courtesy of Pace/MacGill Gallery, New York

 

Josef Koudelka. 'Romania' 1968, printed 1980s

 

Josef Koudelka
Romania
1968, printed 1980s
from the series Gypsies
The Art Institute of Chicago, promised gift of Robin and Sandy Stuart
© Josef Koudelka/Magnum Photos. Courtesy of Pace/MacGill Gallery, New York

 

Josef Koudelka. 'Slovakia (Rakúsy)' 1966, printed 1967

 

Josef Koudelka
Slovakia (Rakúsy)
1966, printed 1967
from the series Gypsies
The Art Institute of Chicago, restricted gift of Sandy and Robin Stuart and Photography Gala Fund
© Josef Koudelka/Magnum Photos. Courtesy of Pace/MacGill Gallery, New York.

 

 

“The unforgettable photographs of acclaimed Czech-born, French photographer Josef Koudelka (b.1938), including eyewitness images of the 1968 Soviet-led invasion of Czechoslovakia, have not been shown at a major U.S. museum since 1988. These documentary works as well as extensive selections from the photographer’s work going back to 1958 – including his renowned series Gypsies, Exiles, and a variety of recent panoramic photographs – will feature in the major retrospective exhibition Josef Koudelka: Nationality Doubtful, from June 7 through September 14, 2014. It is the first museum show ever to emphasize Koudelka’s original vintage prints, period publications and unpublished study materials.

Josef Koudelka: Nationality Doubtful, which takes place in the Abbott (182-4) and Bucksbaum (188) galleries on the ground floor of the Modern Wing, draws primarily on Koudelka’s extensive holdings of his own work. For decades, the photographer has exhibited new and recent prints of images that have grown iconic through frequent exhibitions and reproductions, while holding back the earliest, vintage prints – until now. For example, over the years there have been more than one dozen solo exhibitions of Gypsies and numerous reprints of the book of the same name, which has appeared in two editions and six languages. Among the rarities that will be included in Josef Koudelka: Nationality Doubtful is the only surviving maquette for the first book version of Gypsies, which Koudelka had to leave unfinished at his exile from Prague in 1970.

Koudelka’s habit of revisiting past projects while simultaneously advancing into new territory will be squarely on view in Josef Koudelka: Nationality Doubtful. Twenty-two original photographs from the very first show of Gypsies, held in Prague in 1967, will be displayed for the first time since that date. In an adjacent room, a different selection from the series, printed at a different size and in another way, will also be shown. Similarly, extremely rare vintage prints of Invasion, made and circulated anonymously to the press directly following the Soviet invasion of Czechoslovakia, will be shown alongside much larger prints commissioned soon after the fall of the Berlin Wall in 1989, when Koudelka returned from exile and had his first post-Soviet exhibition in Prague.

Also on display will be selections from his early experimental photographs and years of work with Prague theater companies, made during the flowering of the Czech stage and cinema in the 1960s.

Koudelka was born in a small Moravian town in 1938 and moved to Prague, then the capital of Czechoslovakia, in the 1950s. He studied aeronautical engineering while practicing photography obsessively from 1958; in 1966, he turned full-time to a photographic career. Already in 1961, Koudelka had begun his most ambitious life project, Gypsies, for which he visited Roma populations for weeks at a time, principally in Slovakia. The rigorously humanist pictures became his calling card at home and internationally in the later 1960s after being published in the Swiss magazine Camera and shown to curators and photography representatives around Western Europe and the United States. Meanwhile, Koudelka’s Invasion photographs became famous after they appeared worldwide to commemorate the first anniversary of the events of August 1968. Worried about reprisals even though the images had been published anonymously, Koudelka chose to leave his country in May 1970.

In exile Koudelka adopted a semi-nomadic existence. He followed village festivals, pilgrimages, and Roma gatherings throughout the United Kingdom (his country of asylum in the 1970s), Spain, Italy, and France (his principal residence from 1981, and country of citizenship from 1986), photographing throughout the year and printing largely in wintertime. The world-famous photography agency Magnum, which had stewarded publication of the Invasion photographs, became Koudelka’s home base and as he says his “family.” Koudelka’s photographs of these years were gathered together in 1988 as Exiles, which will also be part of the exhibition.

Since the late 1980s Koudelka has made panoramic landscape photographs in areas massively shaped by industry, territorial conflict, or – in the case of the Mediterranean rim – the persistence of Classical civilization. The final gallery of Josef Koudelka: Nationality Doubtful will showcase six of these mural-size black-and-white images, as well as three of the impressive accordion-fold books that Koudelka has made of them since 1989, some of which stretch to more than 100 feet long.

Despite his peripatetic life, Koudelka’s moving and stunning photographs have made him one of the most sought-after figures in print and at exhibition. Honored with the French Prix Nadar (1978), the Hasselblad Prize (1992), and the International Center of Photography Infinity Award (2004), Koudelka remains today a leading member of Magnum.

A fully illustrated catalogue accompanies the exhibition, overseen closely by the artist and designed by the Czech firm Najbrt Studio. Edited by Matthew S. Witkovsky, the Richard and Ellen Sandor Chair and Curator of Photography at the Art Institute, the book provides extensive new information on Koudelka’s formative years in Prague during the thaw of the 1960s, as well as the first complete history of Gypsies, its twists and turns from 1961 through 2011. Amanda Maddox, assistant curator of photographs at the J. Paul Getty Museum, which has co-organized the exhibition, provides fresh knowledge on Koudelka’s underrepresented decade in England and the UK. Stuart Alexander and Gilles Tiberghien, two longtime friends of the photographer, have contributed illuminating essays on Koudelka’s years in France and his fascination for panoramic landscape, respectively.”

Press release from the Art Institute of Chicago

 

Josef Koudelka. 'France' 1987

 

Josef Koudelka
France
1987

 

Josef Koudelka. 'Lisbon, Portugal' 1975

 

Josef Koudelka
Lisbon, Portugal
1975

 

Josef Koudelka. 'Ireland' 1972, printed 1987/88

 

Josef Koudelka
Ireland
1972, printed 1987/88
from the series Exiles
© Josef Koudelka/Magnum Photos. Courtesy of Pace/MacGill Gallery, New York

 

Josef Koudelka. 'Spain' 1975

 

Josef Koudelka
Spain
1975

 

Josef Koudelka. 'St. Procopius Abbey graveyard, Lisle' Nd

 

Josef Koudelka
St. Procopius Abbey graveyard, Lisle
Nd

 

Josef Koudelka. 'Poland' 1958

 

Josef Koudelka
Poland
1958
The Art Institute of Chicago, Photography Gala Fund and restricted gift of John A. Bross
© Josef Koudelka/Magnum Photos. Courtesy of Pace/MacGill Gallery, New York

 

 

“Drama was an important part of Koudelka’s early career: In a literal sense, because he worked for a theater magazine in the ’60s, creating fantastically emotive images, but also because theatricality was, and still is, deeply embedded in the photographer’s world view. The week in 1968 when young Czechoslovakians stood up against invading Soviet forces occurred when he was working as a stage photographer, and so it became not only a tragedy but also a drama to be recorded. Likewise, his “Gypsies” series, created in the same period, is described by Koudelka as a “theater of the real.”

Through dynamic composition and juxtaposition, Koudelka’s work challenges us to differentiate between spectacle and reality, and while there is no positive indication that one is valued over the other, this is not at all the same as the disbelief in reality that is characteristic of postmodernism. As he puts it, “You form the world in your viewfinder, but at the same time the world forms you.”

In a sense, Koudelka does not want us to become too comfortable with his works as definitive statements. Instead, he crops bodies in images abruptly; we often see people cut off at the knees or ankles, visually and figuratively separating them from the Earth. In other works, disembodied arms and legs jut into the space of the photograph, making scenes surreal and reminding us that whatever coherency the composition has, we can never see the whole picture of what’s really going on. Even with the more poetic and purposefully aesthetic panorama prints of his later “Chaos” series – monumental testaments to the violence we enact both on the natural world and upon each other – through the pitted insistence of film grain and the lack of bright tones or highlights, we are not permitted redemption through “art” or the creation of “beautiful” objects.

In this respect Koudelka’s work, in its celebration of the imperfect, has more in common with the aesthetics of the haiku poet Basho, or the tea master Sen no Rikyu, than with the luscious highly detailed color images that largely dominate the world of contemporary art photography.”

John L. Tran. Josef Koudelka: the theatrics of life

 

Josef Koudelka. 'Untitled (Student on tank, eyes crossed out)' 1968

 

Josef Koudelka
Untitled (Student on tank, eyes crossed out)
1968
from the series Invasion
© Josef Koudelka/Magnum Photos. Courtesy of Pace/MacGill Gallery, New York

 

Josef Koudelka. 'Untitled' Various images from the series 'Invasion'

Josef Koudelka. 'Untitled' Various images from the series 'Invasion'

Josef Koudelka. 'Untitled' Various images from the series 'Invasion'

Josef Koudelka. 'Untitled' Various images from the series 'Invasion'

Josef Koudelka. 'Untitled' Various images from the series 'Invasion'

Josef Koudelka. 'Untitled' Various images from the series 'Invasion'

 

Josef Koudelka
Untitled
Various images from the series Invasion
1968

 

 

The Art Institute of Chicago
111 South Michigan Avenue
Chicago, Illinois 60603-6404
T: (312) 443-3600

Opening hours:
Monday – Wednesday, 10.30 – 5.00
Thursday, 10.30 – 8.00
Friday, 10.30 – 8.00
Saturday – Sunday, 10.00 – 5.00
The museum is closed Thanksgiving, Christmas, and New Year’s days.

The Art Institute of Chicago website

LIKE ART BLART ON FACEBOOK

Back to top

14
Apr
09

Exhibition: ‘Czech Photography of the 20th Century’ at the Exhibition Hall of the Federal Republic of Germany, Bonn

Exhibition dates: 13th March – 26th July 2009

 

Looks like an interesting exhibition. I wish I had been able to see it. Wouldn’t it be such a grand job flying around the world, reviewing photography exhibitions and bringing you my thoughts. I can only wish…

Marcus

.
Many thankx to the Exhibition Hall of the Federal Republic of Germany for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Jindřich Štreit. 'Arnoltice' 1985

 

Jindřich Štreit (Czech, b. 1946)
Arnoltice
1985
From the Village Life series
Gelatin silver print

 

Jindřich Štreit (born 5 September 1946 in Vsetín) is a Czech photographer and pedagogue known for his documentary photography. He concentrates on documenting the rural life and people of Czech villages. He is considered one of the most important exponents of Czech documentary photography.

 

 

“Czech photography produced and produces leading figures in all areas of photography – from classical documentary photojournalism to surrealism, realism or avant-garde works. From 13 March 2009 on, the Art and Exhibition Hall of the Federal Republic of Germany is presenting over 400 photographic works, a historical mosaic of Czech photography from 1900 until the late 20th century that underlines the international reputation enjoyed by Czech photography today. That reputation is not only apparent in the outstanding contributions by such renowned artists as Josef Sudek, Karel Hájek, Václav Jírů, Vilém Reichmann, Jan Reich, Jindřich Štreit, Frantisek Drtikol, Jaromír Funke, Jaroslav Rossler, Josef Koudelka and Jan Saudek, but also in works from a host of younger photographers. The exhibition does not only showcase famous names but also less well-known photographers, providing an overall impression of the variation and innovation in Czech photography.

From Surrealism and other avant-garde experimentation to realism and classic photo reportage, Czech photographers have long played a key role in all areas of photography and continue to do so to this day.

This exhibition is the first in Germany to present the history and development of Czech photography from 1900 to the turn of the millennium. Beginning with Art Nouveau-inspired pictorialism, the comprehensive survey traces the rise of avant-garde photography and the development of photo montage in the 1920s to the 1940s. It examines the influence of ideological pressure on photography during the Second World War, the Stalinist 1950s and the period of Communist ‘normalisation’ after the occupation in 1968 and introduces the visitor to the multifaceted range of contemporary trends.”

Text from the Exhibition Hall of the Federal Republic of Germany website [Online] Cited 10/04/2009 (no longer available online)

 

Frantisek Drtikol. 'Wave' 1925

 

František Drtikol (Czech, 1883-1961)
Wave
1925
Gelatin silver print

 

František Drtikol (1883-1961) 'Nude' 1927

 

František Drtikol (Czech, 1883-1961)
Nude
1927
Gelatin silver print

 

 

František Drtikol (3 March 1883, Příbram – 13 January 1961, Prague) was a Czech photographer of international renown. He is especially known for his characteristically epic photographs, often nudes and portraits.

From 1907 to 1910 he had his own studio, until 1935 he operated an important portrait photostudio in Prague on the fourth floor of one of Prague’s remarkable buildings, a Baroque corner house at 9 Vodičkova, now demolished. Jaroslav Rössler, an important avant-garde photographer, was one of his pupils. Drtikol made many portraits of very important people and nudes which show development from pictorialism and symbolism to modern composite pictures of the nude body with geometric decorations and thrown shadows, where it is possible to find a number of parallels with the avant-garde works of the period. These are reminiscent of Cubism, and at the same time his nudes suggest the kind of movement that was characteristic of the futurism aesthetic.

Text from the Wikipedia website

 

Eugen Wiskovsky. 'Lunar Landscape or Collars' 1929

 

Eugen Wiskovsky (Czech, 1888-1964)
Lunar Landscape or Collars
1929
Gelatin silver print

 

 

The oeuvre of the leading Czech avant-garde photographer Eugen Wiskovsky (1888-1964) is not large in size or subject range, but it is noteworthy in its originality, depth of ideas, and mastery. Wiskovsky’s early New Objectivist works, from the late 1920s and early 1930s, sought artistic effect in apparently non-aesthetic objects: His inventive lighting and cropping allowed their elementary lines to stand out, to lose their worldly associations and take on potential metaphorical meanings. In his dynamic diagonal compositions, Wiskovsky was among the most radical practitioners of Czech Constructivism. His landscape work is similarly distinctive.

 

Jaroslav Rossler. 'Untitled' 1931

 

Jaroslav Rössler (Czech, 1902-1990)
Untitled
1931
Gelatin silver print

 

 

Jaroslav Rössler (25 May 1902, Smilov – 5 January 1990, Prague) was a pioneer of Czech avant-garde photography and a member of the association of Czech avant-garde artists Devětsil (Butterbur).

Rössler was born to the Czech-German father, Eduard Rössler, and a Czech mother, Adela Nollova. From 1917 to 1920, Rössler studied in the atelier of the company owned by renowned Czech photographer František Drtikol. Subsequently, he worked with the company as a laboratory technician. As a 21 years old, he began collaboration with the art theorist Karel Teige, who assigned him to create typographic layout for magazines Pásmo, Disk, Stavba and ReD (Revue Devětsilu). While working on these tasks, Rössler deepened his knowledge of photographic methods. In his works he utilised and combined the techniques of photogram, photomontage, collage and drawing. The beginnings of his photographic work were influenced by Cubism and Futurism, but he also attempted to create the first abstract photographs. In 1923, he became a member of the avant-garde association Devětsil.

In 1925, he went on a six-month study visit to Paris. The same year he began working as a photographer in the Osvobozené divadlo in Prague. Before his second departure to Paris, he co-worked as a commercial photographer with the pictorial magazine Pestrý týden.

In 1927, Rössler moved to Paris together with his wife, Gertruda Fischerová (1894-1976). Initially, he focused on commercial photography. He collaborated with the experimental studio of Lucien Lorell, and worked on commissions for notable companies such as Michelin and Shell. However, later he found an interest in the “street life” of Paris, which influenced his future stay in the city. During a demonstration, he encountered the protesters and took photographs of the event. Shortly after that he was arrested, and after a six-month imprisonment he was expelled from the country, in 1935. The alleged reason for his expulsion was his German-sounding surname.

After his return from Paris, Rössler and his wife resided in Prague, Žižkov. He opened a small photographic atelier, but difficulties associated with the management of the studio caused a significant gap in his artistic work, lasting for almost two decades.

In the 1950s, he resumed his previous activities and again began experimenting with the camera and photographic techniques. He created so-called “prizmata” (prisms), photographs taken through a birefringent prism. Additionally, he experimented with solarisation and explored the possibilities of the Sabatier effect.

Text from the Wikipedia website

 

Eugen Wiskovsky. 'Disaster' 1939

 

Eugen Wiskovsky (Czech, 1888-1964)
Disaster
1939
Gelatin silver print

 

Josef Sudek. 'The Last Rose' 1956

 

Josef Sudek (Czech, 1896-1976)
The Last Rose from the Rose series
1956
Gelatin silver print

 

 

Josef Sudek (17 March 1896, Kolín, Bohemia – 15 September 1976, Prague) was a Czech photographer, best known for his photographs of Prague.

Sudek was originally a bookbinder. During the First World War he was drafted into the Austro-Hungarian Army in 1915 and served on the Italian Front until he was wounded in the right arm in 1916 which led to the limb being amputated at the shoulder. After the war he studied photography for two years in Prague under Jaromir Funke. His army disability pension gave him leeway to make art, and he worked during the 1920s in the romantic Pictorialist style. Always pushing at the boundaries, a local camera club expelled him for arguing about the need to move forwards from ‘painterly’ photography. Sudek then founded the progressive Czech Photographic Society in 1924. Despite only having one arm, he used large, bulky cameras with the aid of assistants.

Sudek’s photography is sometimes said to be modernist. But this is only true of a couple of years in the 1930s, during which he undertook commercial photography and thus worked “in the style of the times”. Primarily, his personal photography is neo-romantic.

Text from the Wikipedia website

 

Josef Sudek was a Czech photographer best known for his elegiac black-and-white images of Prague, interiors, still lifes, and the landscapes of Bohemian forests. Many of Sudek’s most memorable images were taken from the window of his small studio, documenting his humble courtyard during changing weather and light conditions. “Everything around us, dead or alive, in the eyes of a crazy photographer mysteriously takes on many variations,” he explained, “so that a seemingly dead object comes to life through light or by its surroundings.”

Text from the artnet website [Online] Cited 10/01/2019

 

Jan Saudek (Czechoslovakia, b. 1935) 'Life' 1966

 

Jan Saudek (Czech, b. 1935)
Life
1966
Gelatin silver print

 

Josef Koudelka (Czech, b. 1938) 'France' 1987

 

Josef Koudelka (Czech, b. 1938)
France
1987
Gelatin silver print

 

 

Exhibition Hall of the Federal Republic of Germany
Museumsmeile Bonn
Friedrich-Ebert-Allee 4, 53113 Bonn
Postfach 12 05 40, 53047 Bonn
Germany
Telephone: +49-(0)228-9171-0

Opening hours:
Tues – Wed 10 – 9pm
Thurs – Sun 10 – 7pm

Exhibition Hall of the Federal Republic of Germany website

LIKE ART BLART ON FACEBOOK

Back to top




Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Dogs, chickens, cattle’ 1994-95

If you would like to unsubscribe from the email list please email me at bunyanth@netspace.net.au and I will remove you asap. Thank you.

Join 2,689 other followers

If you would like to unsubscribe from the email list please email Marcus at bunyanth@netspace.net.au and I will remove you asap. Thank you.

Follow Art_Blart on Twitter
Art Blart on Pinterest

Recent Posts

Lastest tweets

November 2020
M T W T F S S
 1
2345678
9101112131415
16171819202122
23242526272829
30  

Archives

Categories