{"id":1576,"date":"1983-09-15T15:29:38","date_gmt":"1983-09-15T15:29:38","guid":{"rendered":"https:\/\/tranzit.org\/?p=1576"},"modified":"2021-12-10T09:22:12","modified_gmt":"2021-12-10T09:22:12","slug":"hop-field-symposium-in-mutejovice","status":"publish","type":"post","link":"https:\/\/tranzit.org\/exhibitionarchive\/hop-field-symposium-in-mutejovice\/","title":{"rendered":"Hop-Field Symposium in Mut\u011bjovice (Chmelnice – Mut\u011bjovice ’83)"},"content":{"rendered":"
\"Invitation<\/a>
1\/9<\/span>Invitation to the exhibition, VVP AVU Archive.<\/div><\/div>
\"View<\/a>
1\/9<\/span>View of the exhibition with an installation by Ivan Kafka. Photo: Ji\u0159\u00ed \u0160ev\u010d\u00edk, VVP AVU Archive. <\/div><\/div>
\"An<\/a>
1\/9<\/span>An installation by \u010cestm\u00edr Kafka. Photo: Ji\u0159\u00ed \u0160ev\u010d\u00edk, VVP AVU Archive. <\/div><\/div>
\"An<\/a>
1\/9<\/span>An installation by Jitka Svobodov\u00e1. Photo: Ji\u0159\u00ed \u0160ev\u010d\u00edk, VVP AVU Archive.<\/div><\/div>
\"View<\/a>
1\/9<\/span>View of the exhibition with an installation by Stanislav Zippe. Photo: Ji\u0159\u00ed \u0160ev\u010d\u00edk, VVP AVU Archive.<\/div><\/div>
\"An<\/a>
1\/9<\/span>An installation by Magdalena Jetelov\u00e1. Photo: Ji\u0159\u00ed \u0160ev\u010d\u00edk. VVP AVU Archive.<\/div><\/div>
\"View<\/a>
1\/9<\/span>View of the exhibition with an installation by Margita Titlov\u00e1 Ylovsky, in the background works by Kurt Gebauer, Pavla Mich\u00e1lkov\u00e1 and Josef Hampl. Photo: Ji\u0159\u00ed \u0160ev\u010d\u00edk, VVP AVU Archive.<\/div><\/div>
\"An<\/a>
1\/9<\/span>An installation by Na\u010fa Rawov\u00e1. Photo: Ji\u0159\u00ed \u0160ev\u010d\u00edk, VVP AVU Archive.<\/div><\/div>
\"Plan<\/a>
1\/9<\/span>Plan of the exhibition. Courtesy of the curator. <\/div><\/div><\/div>\n

The search for a place to exhibit alternative culture resulted in the early 1980s in absurd projects such as the Hop-Field Symposium near Mut\u011bjovice that took place in a field after the hops harvest, i.e. in a space marked by poles and wires. It brought together a number of artists who were at that time working with alternative ways of creating art and site-specificity, as well as those for whom leaving behind their studios for the fresh air and a chance to work in a broader collective was a welcomed change from the isolation that was common during the normalization years.<\/p>\n

The original idea was to present the works of contemporary unofficial artists on a hop-field along a relatively busy road between Prague and Karlovy Vary, but following the police intervention at A Meeting on the TJ Sparta Tennis Courts<\/a>\u00a0<\/em>exhibition, the artists and curator involved decided to find a somewhat less conspicuous place. Even so, the exhibition did not avoid intervention by the authorities. According to the arrangement with the local agricultural cooperative, it was meant to be open to the public on October 1\u201316, but it was prematurely closed down by decision of Rakovn\u00edk\u2019s Regional National Committee on October 6, 1983. The main curator, Marie Klime\u0161ov\u00e1\u00a0\u2013 at that time still using her maiden name Judlov\u00e1, an important art historian and curator, involved with Czech unofficial scene in 1970s and 1980s\u00a0\u2013 invited to exhibit those artists with a desire to experiment in a monumental land-art installation. As in the case of A <\/em>Meeting on the TJ Sparta Tennis Courts <\/em>exhibition, the atmosphere on the hop-field was of a friendly meeting between members of different generations. Working side by side in the hops-field were accomplished artists of the 1960s generation such as \u010cestm\u00edr Kafka<\/a> (1922-1988) and Stanislav Zippe<\/a> (1943), as well as those from the upcoming generation: Magdalena Jetelov\u00e1<\/a> (1946), Margita Titlov\u00e1 Ylovsky<\/a> (1957), Tom\u00e1\u0161 Ruller<\/a> (1957) and Na\u010fa Rawov\u00e1 (1953). The opening on October 1st<\/sup> saw the congregation of the then artistic and theoretical elite of the unofficial scene and a number of unusual works: monumental figures made from hops by Kurt Gebauer<\/a> (1941), Suspending<\/em> by Ivan Kafka<\/a>\u00a0(1952) which, like a mysterious church filled a central dug-out cube in the hop-field, an installation bringing to mind American earth art by Vladim\u00edr Merta<\/a> (1957), or the\u00a0Furrow<\/em> in which Tom\u00e1\u0161 Ruller\u00a0walked from one side of the hop-field to the other.<\/p>\n

The symposium and exhibition at the hop-field in Mut\u011bjovice can be seen as the pinnacle of the collective effort during that period to work with an exterior space \u2013 whether it be in an urban public space or in nature. Land art, still relevant at that time in Czechoslovakia, became for the unofficial scene one way out of the difficult totalitarian situation. It also made it possible to define itself vis-\u00e0-vis the anachronistic official art as one of the most progressive art forms of the previous decade and to capitalize on the peripheral position of unofficial art, which, since the early 1970s, had naturally fled to unmonitored natural environments. The Hop-Field<\/em>\u00a0event symbolically brings this tendency to a close, with the Czech unofficial scene subsequently moving to low-profile institutions where, thanks to the gradual cultural thaw, they were able to carry out more gallery-type projects.<\/p>\n

Documents:<\/strong><\/p>\n

Photos at abART<\/a><\/p>\n

Bibliography:<\/strong><\/p>\n

Pavl\u00edna Morganov\u00e1 \u2013 Terezie Nekvindov\u00e1 \u2013 Dagmar Svato\u0161ov\u00e1, V\u00fdstava jako m\u00e9dium. \u010cesk\u00e9 um\u011bn\u00ed 1957\u22121999<\/em>, AVU, Prague 2020, pp. 618-635.<\/p>\n

Alena Pot\u016f\u010dkov\u00e1 (ed.), Um\u011bn\u00ed zastaven\u00e9ho \u010dasu. \u010cesk\u00e1 v\u00fdtvarn\u00e1 sc\u00e9na 1969\u22121985<\/em>, exh. cat. \u010cesk\u00e9 museum v\u00fdtvarn\u00fdch um\u011bn\u00ed, Prague, 1996.<\/p>\n

Marie Klime\u0161ov\u00e1, \u010cesk\u00e9 v\u00fdtvarn\u00e9 um\u011bn\u00ed druh\u00e9 poloviny 20. Stolet\u00ed. Alternativa a underground, um\u011bn\u00ed a spole\u010dnost, in: Josef Alan (ed.), Alternativn\u00ed kultura. P\u0159\u00edb\u011bh \u010desk\u00e9 spole\u010dnosti 1945\u22121989<\/em>, Nakladatelstv\u00ed Lidov\u00e9 noviny, Prague, 2001, pp. 377\u2212420.<\/p>\n","protected":false},"excerpt":{"rendered":"

The search for a place to exhibit alternative culture resulted in the early 1980s in absurd projects such as the Hop-Field Symposium near Mut\u011bjovice that took place in a field after the hops harvest, i.e. in a space marked by poles and wires. It brought together a number of artists who were at that time […]<\/p>\n","protected":false},"author":13,"featured_media":1773,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[],"keywords":[331,69,269,125],"locations":[4,3,427],"persons":[400,401,402,403,404,405,406,407],"acf":[],"_links":{"self":[{"href":"https:\/\/tranzit.org\/exhibitionarchive\/wp-json\/wp\/v2\/posts\/1576"}],"collection":[{"href":"https:\/\/tranzit.org\/exhibitionarchive\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/tranzit.org\/exhibitionarchive\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/tranzit.org\/exhibitionarchive\/wp-json\/wp\/v2\/users\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/tranzit.org\/exhibitionarchive\/wp-json\/wp\/v2\/comments?post=1576"}],"version-history":[{"count":0,"href":"https:\/\/tranzit.org\/exhibitionarchive\/wp-json\/wp\/v2\/posts\/1576\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/tranzit.org\/exhibitionarchive\/wp-json\/wp\/v2\/media\/1773"}],"wp:attachment":[{"href":"https:\/\/tranzit.org\/exhibitionarchive\/wp-json\/wp\/v2\/media?parent=1576"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/tranzit.org\/exhibitionarchive\/wp-json\/wp\/v2\/categories?post=1576"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/tranzit.org\/exhibitionarchive\/wp-json\/wp\/v2\/tags?post=1576"},{"taxonomy":"keywords","embeddable":true,"href":"https:\/\/tranzit.org\/exhibitionarchive\/wp-json\/wp\/v2\/keywords?post=1576"},{"taxonomy":"locations","embeddable":true,"href":"https:\/\/tranzit.org\/exhibitionarchive\/wp-json\/wp\/v2\/locations?post=1576"},{"taxonomy":"persons","embeddable":true,"href":"https:\/\/tranzit.org\/exhibitionarchive\/wp-json\/wp\/v2\/persons?post=1576"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}