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Viktor Hulík
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About author

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Hulík made his debut during the Normalization when contemporary art was virtually officially unacceptable. In spite of this, he chose this path – his first distinctive works were collages and assemblages in which he transformed the visual quality of printed reproductions of photographic landscapes, occasionally rather conveying analysis of the medium. Undoubtedly, for Hulík two possibilities of manipulation were of great importance – the spatial interference into the found picture and various ways of destroying its structure. Gradually, the presence of rational elements assumed greater importance, though the phenomenon of playfulness is also significant. Initially, the moment of mechanical motion, offered to the viewer as a challenge for the transformation of form, was depicted as a traditional folding ruler and its paraphrases, first in interaction with pasted pictures which became the second level of manipulation. However, the sphere of pure geometry and motion, manipulation with simple forms on the surface gradually became Hulík’s domain. He was the first artist in our country to succeed in permanently discovering the combinatory variants of linear arrangements in computer graphics; this made him an important representative of his generation in the world. Although I have been interested in the development of his work since the beginning, I am captivated by movers, the last, truly mature series of his work. Geometric reliefs created by several layers placed above each other can be perceived as a precise, almost minimalist, expressively coloured or pure black and white construction. Subsequently, we are captivated by the chance given by a single metal screw, largely arranged eccentrically. The simple, often minimalist composition can set in motion an unbelievably wide range of shifts from subtle variations of the initial arrangement to sophisticated intersections and rotations. It is symptomatic that such Hulík’s works are welcome to the exhibitions of the MADI movement, coincidentally less known than various groups of the Constructivists. However, the MADI has formed the living contrast to the Constructionists since the 1940s when the movement was founded by Carmelo Arden Quin. He was convinced that Geometric abstraction can be more playful, free and open than pure Constructivism. Under his guidance the MADI has been flourishing and Viktor Hulík found likeminded artists who combine the potential of geometry with various possibilities of playful openness. Today I find his work exceptionally important because it can join relief constructions of several layers and colour interpretation, and open it to new relationships and variants of colour and form; to produce motion revealing a new dimension of perception and simultaneously programmatically present the steadiness and unsteadiness of the picture and its limits.

Jiří Valoch
a part of text MOVEMENT AS A MESSAGE, exhibition catalogue
exhibition at the Trade Fair Palace, Czech National Gallery, Prague, 2008

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