{"id":1009623,"date":"2020-05-04T18:35:25","date_gmt":"2020-05-04T16:35:25","guid":{"rendered":"https:\/\/www.marottaeditori.com\/jiri-kolar-tra-poesia-e-collage\/"},"modified":"2020-05-13T22:06:42","modified_gmt":"2020-05-13T20:06:42","slug":"jiri-kolar-between-poetry-and-collage","status":"publish","type":"post","link":"https:\/\/old.marottaeditori.com\/en\/jiri-kolar-between-poetry-and-collage\/","title":{"rendered":"Ji\u0159\u00ed Kol\u00e1\u0159: between poetry and collage"},"content":{"rendered":"\r\n

Czech by birth but Parisian by adoption Ji\u0159\u00ed Kol\u00e1\u0159<\/strong> was a multifaceted and multifaceted artist. Son of a baker and a seamstress, he was born in 1914 in Protiv\u00ecn, in southern Bohemia. He carries out very disparate jobs (carpenter, baker, blacksmith, waiter, railway worker) but his passion for the arts never fades.<\/p>\r\n\r\n\r\n\r\n

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In the 1930s he exhibited his first collages in Prague and wrote some of the poems that will be published at the beginning of the following decade. His research proceeds parallel between visual poetry and art, ranging from time to time also between literature (he is the author of some books for children and essays).<\/p>\r\n

In 1942, together with the art historian Jind\u0159ich Chalupeck\u00fd, the sculptor Ladislav Z\u00edvr, the painter Franti\u0161ek Hude\u010dek, the poets Ivan Blatn\u00fd, Ji\u0159ina Haukov\u00e1, Josef Kainar and other artists, he founded Group 42 (Skupina 42) and mainly devoted himself to poetry.<\/p>\r\n

In 1953 he was arrested because some of his writings are considered “subversive” by the Czechoslovak regime. Sentenced and then amnestied, he undergoes the ban on any publication (the ban will remain in force until 1964).<\/p>\r\n\r\n\r\n\r\n\r\n\r\n

\"Jiri<\/figure>\r\n\r\n\r\n\r\n

His research in the field of visual arts led him to experiment with different collage techniques and to invent some of them. At the beginning of the 1950s, he created the series of Confrontages (i.e. the almost surrealist combination of two different subjects) and Rapportages (comparison of different subjects but united by a semantic basis, for example: Two Interiors of 1952, in which Rembrandt’s Slaughtered Ox and an open electronic calculator with its mechanisms in plain view are put in relation).<\/p>\r\n\r\n\r\n\r\n

\"Jiri<\/figure>\r\n\r\n\r\n\r\n

A little later are the Rolages, or collages made by “cutting into strips” the image of a famous work and then gluing it according to a rhythmic sequence or alternating the strips with those extracted from another image, for example the Basin of San Giorgio Maggiore di Canaletto and Botticelli’s Birth of Venus become the rolages Venus a V\u00e8nis.<\/p>\r\n\r\n\r\n\r\n

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A different technique is that of the Intercalages, that is fragments of works grafted on wings of butterflies, silhouettes of the animal world and – subsequently – in forms and silohuette taken from other paintings. Chiasmages are placed on the same line of research, in which letters, words, verses from the Talmud or from the Bible, numbers and even musical scores become fragments to be glued, superimposed, crumpled.<\/p>\r\n\r\n\r\n\r\n

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