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2010
2009
2008
2007
Aleš Votava
1. December 2006 - 25. February 2007
Flying Dutchmen
14. December 2006 - 18. Marec 2007
Restored Works of Art from the Collection of the Slovak National Gallery
Francesco Furini - Mária Magdaléna
January 2007 - December 2007
From the Aquisitions of Contemporarz Art
Objects & Installations
8. Marec 2007 - August 2007
David Hockney: Words&Pictures
Four Print Portfolios 1961-1977
21. Marec 2007 - 3. June 2007
One Hundred 17th Century Italian Drawings
Collection of A. Martin Lublinský The Scientific Library of Olomouc
6. April 2007 - 24. June 2007
Milan Bočkay
Dolphin in the Forest or the Praise of Paradox
18. April 2007 - 29. July 2007
Insita 2007
24. June 2007 - 30. September 2007
Form Follows... Risk
14. August 2007 - 14. October 2007
Lost Time?
Slovakia 1969 – 1989 in Documentary Photography
31. October 2007 - 2. Marec 2008
The Return of Štefan Schwartz
6. December 2007 - 17. February 2008
2006
2005
2004
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Laureat Grand Prix Insita 2010 - Philippe Azéma INSITA 2010 9th International Triennial of Self-Taught Art He was born in 1956 in Cauderan, France. Philippe Azéma leads two parallel lives: during the day he is an agricultural worker and the rest of the time he is an artist. It is an inner urge that leads him to drawing and painting in his studio in Tarn. He works on paper or old sheets glued on to the floor.Fortenye¬ars, the formats of his works have been 4×2 metres, sometimes even more. When looking at his production, it seems as if we were returning several dozens of thousands of years back; so remarkable is their similarity with the themes and techniques of prehistoric cave paintings (or stone painting in general). There are people, animals and various monkeys. He uses own technique: his paintings lack perspective or horizon, silhouet¬tes are depicted in profile,elementsarearrangednexttoeachother regardless of the scale, the colour scheme is limited (he uses yellow, black, and red). The prehistory of Philippe Azéma is, however, completely thought up. While our distant ancestors drew real animals, tho¬se of Azéma are completely black, fantastic, they come from our nightmares, from spooky fairy-tales or legends, such as the one about the Beast of Gévaudan. Abandoning the simplici¬ty of stone paintings, the space on the yellow background is filledwithsilhouettesofpeople,whicharealsoblack,placedin twisting rows, in layers bordered by lines, or arranged in a seemingly incidental way. The picture is decorated by nume¬rous signs, as if it was a kind of puzzle. Some details can be reminiscent of dreamy Africa. Philippe Azéma uses acrylic, felt-tip pen, ink, oil, modern ma¬terials and in his (false) archaic aesthetics he mainly works with very contemporary messages. They are blurred contours, like ink blots sprinkled on the canvas, or graffiti,whichshouldrepresent houses or figures,whichdonotlackaflashofhu¬mour. There is, for example, a silhouette of a woman holding the hand of a child, which holds a weird animal and a cartoon sticker. up | |
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