“They were convinced that what we do is not art. They didn’t want to exhibit us, they fought against us with all their might,” recalls René Rohan, how Ostrava artists split into two camps in the early 1990s. He belonged to the modernists eager to catch up with the West and the trends that had passed the country under communism. On the opposite side stood those whom Rohan describes as adherents of socialist realism.
The art created in Ostrava after 1989 is now represented by a generously conceived exhibition organized by the Gallery of the City of Prague in the Municipal Library. It was prepared by curators Martin Netočný and Tomáš Knoflíček. It is called Return survey: Ostrava and will last until february 9 of next year.
The name comes from the social sciences and means a return to the investigated phenomenon in case of suspicion that earlier findings do not correspond to the truth.
The podcast with René Rohan and Martin Netočný can be listened to here:
The arrival of postmodernism in post-communist Ostrava is evidenced by the work called Superstart, which was created for the prestigious Biennale in Venice. In 2003, Christ hanging on the athletic rings was depicted by a group that included René rohan.it called itself Kamera skura, and its members promised themselves not to exhibit individually under their own names.they created Jesus with Slovak artist Erik Binder.
Now the gymnastic savior appears on the poster for the Prague exhibition - and sometimes causes outrage. “We didn’t intend to offend Christianity or make fun of a religious symbol,” 51-year-old rené Rohan recalls today. “Christ in contradiction is at ease, basically asleep and floating with ease, although he is in maximum tension. So the first meaning was the victory of spirit over matter.”
According to Rohan, another line of the work first exhibited in Italy represented the religious ecstasy with which the soccer audience there reacts to a goal. At the same time, the statue commemorated the Czechoslovak athlete Alois Hudek. In 1936,at the famous Olympics in Berlin,allegedly to the displeasure of Adolf Hitler,he won the gold medal with a phenomenal performance in the circle exercise.
“This is a very typical postmodern strategy that has appeared in art since the seventies. In the context of the Ostrava scene, individual Christian and other cultural symbols appear in different contexts,” explains curator Martin Netočný.
He mentions the artists Daniel Balabán and Marius Kotrba, whose works are also included in the exhibition at the City library. “They are religious and work with religious themes to, say, deal with their personal biography, religious upbringing or rigidly religious childhood. Whereas Kamera skura is a secular group, none of the members are religious and they work with Christ as a cultural symbol,” compares the expert.
The exhibition does not stop only at the beginning of the 90s. When investigating the question of whether there is “Ostrava art” gifted with the rawness and directness associated with the Silesian metropolis, visitors can also look forward to newer works by Daniel Balabán, the group I love 69 popgejů, Petr Lysáček, Pavla Malinová, Hana Puchová, Jiří Surůvka or Jan Vytiska.
“For the people of Prague, the Ostrava scene was very engaging, because it was isolated and specific. A bunch of exotics that arrive, they spoil the hype, everyone gets drunk and their art has character,” smiles René Rohan.
It recalls the words of the now deceased writer jan Balabán about the Ostrava chandra as the prevailing feeling of the place. “We made fun of it, but the oppressive atmosphere of an industrial city that doesn’t want culture was always there,” he admits.
René Rohan compares the relationship of Ostrava to Prague to the connection of the Austrian city of Graz, the second largest city in the country, with the local metropolis. “If we look at austria, which is approximately the same size, Graz is a cultural center on the same level as Vienna. Graz has its own cultural scene, but one cannot speak of exoticism.Ostrava has not succeeded in this yet. Despite the efforts of many who are trying in Ostrava to build cultural institutions, Ostrava is not at the level, financially, or the importance it deserves. This makes me sad,” concludes René Rohan.
Welcome to the Na dotek podcast.Petr vizina’s guests are the artist René Rohan and the curator Martin Netočný. to listen on the platforms: Soundcloud, Spotify, Apple Podcasts and Spreaker.
– What are some key themes explored in the “Return survey: Ostrava” exhibition?
Time.news Interview: The Evolution of Art in Post-Communist Ostrava
Editor (E): Welcome, listeners! Today, we have a fascinating conversation lined up. Joining us is René Rohan, a prominent figure in the Ostrava art scene, along with Martin netočný, one of the curators of the groundbreaking exhibition, “Return survey: Ostrava.” Thank you both for being here!
René Rohan (R): Thank you for having us! It’s a pleasure too discuss our journey.
Martin Netočný (M): Absolutely! Excited to share insights about the exhibition and its relevance.
E: René, you mentioned in the article that there was a meaningful divide among artists in Ostrava during the early 1990s. Can you elaborate on that?
R: Certainly. When communism fell,there was a surge of modernist artists eager to experiment and push boundaries. We wanted to catch up with Western art movements that had been stifled during the regime. In contrast,there was a faction that clung to socialist realism,which they viewed as the only true form of art. It was a clash of ideologies,and frankly,it was quite intense.
E: That must have created a challenging habitat. Do you believe this schism impacted the development of art in the region?
R: Absolutely. The tension forced many of us to defend our work, and in doing so, we contributed to a vibrant discourse. It was a painful but necessary process that ultimately enriched the art scene. As artists, we had to navigate these differing beliefs to find our own voices.
M: And that’s precisely what we aim to showcase in the “Return survey: Ostrava” exhibition.We’re not just displaying artwork; we’re highlighting this historical journey—a return to reflect and re-assess what has been created in Ostrava since 1989.
E: That’s a powerful concept. How did you select the pieces for the exhibition, and what was the curatorial vision behind it?
M: We approached it as investigators revisiting a case. We wanted to ensure that we looked beyond the initial narrative shaped by time and politics. Each piece selected speaks to the evolution of thought and style, reflecting the diverse paths artists took in response to their environment.
E: René, can you give us an example of a work that notably resonates with this theme?
R: One piece that stands out is “Superstart.” It encapsulates the arrival of postmodernism in our city. It challenges traditional notions of what art can be, embracing irony and popular culture—elements that were once considered taboo under the previous regime.
E: Sounds intriguing! As the art scene evolves, how do you see the role of exhibitions like yours in shaping public perception?
M: Exhibitions are crucial for fostering dialog. They not only serve as a platform to showcase art but also as a means to catalyze discussions about history, identity, and societal change. the narrative around art is as significant as the art itself. We hope visitors leave with questions, reflections, and perhaps a deeper understanding of Ostrava’s artistic legacy.
E: René, any final thoughts on where you see the Ostrava art scene heading in the future?
R: I believe we are at a pivotal moment. The younger generation of artists is experimenting fearlessly, unafraid to challenge conventions. I see a bright future—one that embraces complexity, diversity, and a mix of influences. It’s an exciting time to be part of this community!
E: thank you both for sharing your insights today.It’s clear that the art scene in Ostrava is not just surviving but thriving, pushing boundaries and redefining what it means to be an artist. we look forward to exploring the “Return survey: Ostrava” exhibition!
M: Thank you for having us!
R: It was a pleasure!
E: And thank you to our listeners for tuning in.be sure to check out the exhibition running until February 9. until next time!