Květa and Jitka Válovy - Path Predestined by Fate
The exhibition at the Gallery of the Central Bohemian Region in Kutná Hora presents key works by prominent Czech artists, twin sisters Květka and Jitka Válová, on the occasion of the centenary of their birth. The curator of the exhibition, Richard Drury, conceptualized it as a symbolic "pilgrimage," divided into twelve thematic areas (reality, coincidence, slaughterhouse, struggle, weight, grip, journey, conversation, touch, reconciliation, harmony, and transformation). The goal of the architectural design was to support this concept and to arrange over two hundred works in the exhibition spaces of the former Jesuit college, ranging from small sketches, drawings, prints, and paintings to monumental canvases.
There were six differently sized passage halls and a long corridor available, which is now also used for exhibitions and is newly divided into four spaces in the design. At the end of the last hall is approximately half of the exhibition's content, where visitors can sit, rest, and watch a film about the Válová sisters created by their friend and artist Ester Krumbachová. The corridor includes a "red hall" offering another dimension of sensory perception, specifically the listening of classical and jazz music. Music was a significant inspiration for Jitka's poured drawings, which are displayed here. Visitors can sit on a bench or at a table, listen to the music, let the tones guide their hand, and create their own drawings.
The walls in the exhibition remain white. A serif typeface in black and contrasting white color has been selected for the texts in the exhibition. The space is adorned with panels in a bright red color, which have irregular shapes and are loosely inspired by boulders. This motif stems from Květka's work, which references the weight of the times she lived and created in. The acknowledged construction of the panels in section is also meant to evoke, for example, animal ribs, which were a motif appearing in Jitka's diploma work based on the context of slaughterhouses. The exhibition contains a large number of drawings that were donated to GASK from the sisters' estate. Those that were not framed and hung on the wall are installed in organically shaped tables under glass. The tables are, like the panels, colored in bright red with the notable designation "hot blood." Large-format prints of photographs by Jiří Hanke appear in the exhibition twice - first in the introduction on a panel that "draws" visitors into the exhibition, and secondly in the part where the film is screened. The aim was at least to convey to the viewer an eye contact with the charismatic figures of the Czech visual art scene of the 20th century.
There were six differently sized passage halls and a long corridor available, which is now also used for exhibitions and is newly divided into four spaces in the design. At the end of the last hall is approximately half of the exhibition's content, where visitors can sit, rest, and watch a film about the Válová sisters created by their friend and artist Ester Krumbachová. The corridor includes a "red hall" offering another dimension of sensory perception, specifically the listening of classical and jazz music. Music was a significant inspiration for Jitka's poured drawings, which are displayed here. Visitors can sit on a bench or at a table, listen to the music, let the tones guide their hand, and create their own drawings.
The walls in the exhibition remain white. A serif typeface in black and contrasting white color has been selected for the texts in the exhibition. The space is adorned with panels in a bright red color, which have irregular shapes and are loosely inspired by boulders. This motif stems from Květka's work, which references the weight of the times she lived and created in. The acknowledged construction of the panels in section is also meant to evoke, for example, animal ribs, which were a motif appearing in Jitka's diploma work based on the context of slaughterhouses. The exhibition contains a large number of drawings that were donated to GASK from the sisters' estate. Those that were not framed and hung on the wall are installed in organically shaped tables under glass. The tables are, like the panels, colored in bright red with the notable designation "hot blood." Large-format prints of photographs by Jiří Hanke appear in the exhibition twice - first in the introduction on a panel that "draws" visitors into the exhibition, and secondly in the part where the film is screened. The aim was at least to convey to the viewer an eye contact with the charismatic figures of the Czech visual art scene of the 20th century.
Sisters
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