Sculpture Line Olomouc

This sculpture is the author's reminder of the thousand-year tradition of Christian culture in Europe and in our country. The author uses his statue to remind us of what is so much needed today - the basic rules of interpersonal relations and decent behaviour of man towards man. All this is contained in the Ten Commandments. The throne depicts the place that each of us has within us. A kind of imaginary pedestal on which we can place our ideas, desires, wishes, secret thoughts or even something we would like to say out loud or shout to the world, but we do not know how. Why a cross? The artist often uses this sign in his sculpture. As he says himself, in his conception it is not only a religious symbol, but he also understands it as a kind of basic point, which was created by intersecting two lines, as a representation of the expressions Ying and Yang, I - You, She - He, She - It, etc. This sculpture was created in 2016, and two years later the artist placed three relief inscriptions on it, three questioning sentences. This further pushed the possibilities of context and interpretation of the symbolism of this work. The sculptor leaves the understanding of these contexts to the perception and individuality of each of us.

Manta rays – noble majestic underwater creatures whose movement paradoxically resembles the flight of birds. Elegant dancers moving in the depths of indomitable oceans. Graceful curves intersecting one of the truly last wildernesses of the world. The world with which we are so interconnected and yet it is so remote from us and so unknown. And perhaps because of all these contrasts, fascinated by the robustness and fragility at the same time, I decided to expose this creature in a completely different environment, different perspective, in a completely different context. When walking beneath the angel wings, you can dream, unleash your imagination and get carried away to the ocean bottom or somewhere further away...

Fluorescent, delicate, light: the five boats, designed by the visual artist Johannes Pfeiffer, have found their destination on the banks of the Vltava River where it runs towards the city centre of Prague. The old wall of the dock they are fixed on, thus becomes a boathouse for these little boats, which seem to be waiting for anybody who is in need of them. The title of the work itself, Lifeboats, suggests rescue vessels, small sloops that are used for rescuing people. But approaching them one makes a bitter discovery: the ships are leaking. The material they are made of is a metal net and therefore not impenetrable. The boats which at closer look seem more like fragile leaves than solid vessels can´t transport anybody, can´t rescue anybody as water comes in. This work of art is a symbol of the difficult period which has taken humankind unprepared, in which no lifeboat seems safe enough to rescue all. But although the installation radiates uncertainty, the artist, conveys the awareness that there is still hope. And then the little boats change dimensions for the third time and become burning torches. Thanks to their fluorescent colour which at night makes them visible also from far away they change into beacons of hope, which give comfort by signalising the existence of a new accessible way.   Giulia Cordò "The artwork Lifeboats is installed with financial support of the Czech-German Fund for the Future."

Pieces of art have been commonplace in parks and gardens since anyone can remember. They may be a discreet accessory, an extravagant jewel, a guide or a centrepiece of the garden's design – and the main reason for its existence. An art piece and its placement in the garden can have a deeply personal meaning, or it can be the result of a meticulously focused architectural intent. The creations of Alexandra Koláčková are immediately recognizable and her style unmistakable. And yet despite this – or maybe precisely because of this – they set the narration line of the area in motion in so many different ways... They serve as a decorative piece or a climbing frame; they can be the centre of the universe or a tiny surprise hiding under the bench... And that is why I personally value Alexandra's work so much.  Most gardens are not meant to be just observed, but rather used in active ways – their space waiting to be touched, sat on, jogged through... Everything is permitted – even welcome. The same applies to Alexandra Koláčková's sculptures. Their simple, rounded and approachable shapes as well as their larger than life size outright beg to be climbed on. This has a tremendous benefit for a garden architect like me. A garden, with everything in it, should be inviting, welcoming and open to visitors – it should encourage exploration and discovery. In case of Alexandra's sculptures, this is often literally the case, with hands or even whole bodies inviting visitors to sit, lie or rest on them. Whatever they want and whatever they can think of, be it children, their parents or their imagination.

Socha, kterou obdrželo město Olomouc jako dar od sběratele umění Roberta Runtáka. „Sochu jsem od Jiřího Davida zakoupil s cílem darovat ji Olomouci a obohatit tak její veřejný prostor. Dílo bylo provizorně umístěno na olomouckém Palachově náměstí. Po schválení přijetí daru se stane statutární město Olomouc vlastníkem sochy,“ uvedl Robert Runták. Socha Revoluce pochází z roku 2010, jejím tvůrcem je český umělec Jiří David, spoluzakladatel umělecké skupiny Tvrdohlaví. Jeho mediálně nejznámějším dílem je neonové srdce nad Pražským hradem v závěru posledního funkčního období prezidenta Václava Havla. „Celá socha i s konstrukcí váží asi dvě tuny. Tvoří ji 85 tisíc klíčů, na které jdme museli vyhlásit sbírku, která se realizovala i pomocí lidí z Olomouce. Pomohly i firmy, které se výrobou klíčů zabývají“

Works of art have had their place in gardens and parks since time immemorial. They can be an unobtrusive accessory, an extravagant piece of jewellery, a guide, or they can be the central motif, the main reason why a garden space was created. A work of art and its placement in a garden can have a deeply personal meaning, or it can be the result of a meticulously thought-out architectural design. Alexandra Koláčková's works are recognisable at first sight, her handwriting is unmistakable. And yet, or perhaps because of this, they run the narrative line of a given space in so many different directions... They are an ornament, a climbing frame, the centre of a space, a surprise peeking out of the undergrowth, a bench... And this is what I personally really appreciate about Alexandra's work. Most gardens are not just observed, the space is actively used - touching, sitting, lying, walking and rolling are allowed, even welcomed. And so it is with Alexandra Koláček's sculptures. Their rounded, simple and friendly shapes and often larger-than-life size directly invite us to climb them. That's a huge bonus for me as a landscape architect. A garden, and everything in it, should invite a visit, a beckoning finger to explore and discover. And in the case of Alexandra's sculptures, it's often not just a figure of speech, but an actual hand, or indeed a whole body, inviting you to sit, lie down, lean back... whatever you want and whatever comes to mind. And your children, and the visitor, and their children.

The monumental golden fly depicts the controversy over what everyone wants.The sculpture was inspired by Adolf Heyduk's poem and the fascination with the insect itself. The fly, so small, useless and annoying, yet beautiful when viewed in detail under a microscope. A fascinating biological machine that we are unable to perceive with the naked eye. And that is why it has been magnified to a superhuman scale, so that its individual details can be admired, and so that when confronted, a polemic can be stirred up over its own greatness and perhaps even over happiness, so fragile, so seemingly complex and yet sometimes so easy when one is able to perceive the littlethings.

The origin of this artwork is an intuition. The sculpture reveals the polarities caused by a human being and his desire. It illustrates the dilemma and balancing act of conscious existence. Enlarged and modified hand tools interfere with common perception and create symbols for transition from an industrial to digital era. Avarice is a critical review of the greed of our commercial being.