Postbellum

Memory of Nation

 

Pavel Kreml (1954)

.
 Pavel Kreml (1954)
When I paint a hand, I want the hand to be there. I keep hearing - moron, you can keep that. But I try to make my pictures always mean something

Pataphysics makes the impression of trouble

“Everything, what we did, why we did it. They kept searching for the context - what was behind it all. But there was nothing. Pataphysics [a kind of humorous pseudo-science of the absurd - trans.] was a kind of leitmotif, which we’d been introduced to by Eda Vacek - that makes the impression of trouble, but it’s not - it’s just a different perspective on a given subject. But pataphysics was hard for them to swallow. We had things like research on the audibility of a person going to the toilet in a block of flats. Silly stuff like that. It was just pataphysics; trying to make it out as some kind of source of resistance was total nonsense, that wasn’t its purpose at all.”

  • born 27 September 1954 in Teplice
  • started painting as a child
  • founding member of the art group Target and a member of the Pataphysical Collegium
  • helped publish the samizdat magazine Pako
  • subjected to a number of interrogations and house raids
  • exhibited at illegal home exhibitions and outdoors
  • late 1980s, gained prominence for his portraits of famous people, which is livelihood to this day
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