The work of Jiří Kolář and Běla Kolářová offers a lot of ways for the confrontation of their personal attitude towards creativity. Both artists preferred to create large series where they developed  different variations of one visual motif. Běla started at the begining of the 1960ies with the photographic experiment and she liked to use the modestest small pieces of our everyday life. Jiří liked words, litterature and the dialogue with the past. His dialogue was developed in series of collages. One of the beloved directions of his creativity was the manipulation with the world of art. Kolář was fascinated by the chance to decompose famous works of art and to put them newly together. He did it in a way pointing how bad is our memory when we try to remember notoriously known paintings, and he asked us to become open to the play. Each of the two artists was focused to the geometric, rational construction of work, but in the same time, their manipulation with this rationality was full of interest for variety of transformations, for the inner motion of a choosen motif. The actual presentation could suggest the original method of Běla Kolářová´s photographs from the Radiogram of Circle serie (1962–1963) which takes part of the international task during the early sixties to avoid the physical gesture. Kolářová´s predecessor Marcel Duchamp worked on his Rotoreliefs (1920´s, 1930´s), litographs ment as „optical toys“ with a three-dimensional effects during their rotation. Their full sens started with their motion on a phonograph turntable. Kolářová made her Radiograms of Circle in a opposite way – the „drawing“ was born during the motion in the black chamber, but their full sense was in showing the traces of motion on the photographic paper. Radiogram of Circle is playing with the light, motion and line in a number of variations. Kolář had choosen some favorite artists and motifs and in differents periods of his life he was working with. The exhibited examples come from numerous series focused to medieval art, Botticelli, Raffael or mannerism, but they were choosen because of their solitary interest. The purpose of the installation was to confrontate the delicate work by Běla with a colorfull radical late play what Kolář was playing with an obsession for tensions and relations, breaks and penetrations.

Marie Klimešová