Concernant " Connections 09 " à Prague j’ai été très déçu :

Mise en scène absolument nulle ,éclairage inexistant et choix des œuvres critiquables ; très peu de pièces d’avangarde 

un catalogue ou les pièces ne correspondent pas à celles exposées ! 

Pour moi un travail sans saveur et d’amateur .à fuir......

JCC

CONNECTIONS PRAGUE 09
CONTEMPORARY EUROPEAN GLASS SCULPTURE

I discovered the exhibition organized au Kunstmuseum Düsseldorf in December 1990 by Helmut Ricke. 50 artists presenting “Neues Glas in Europa”. This exhibition was an inventory of the glass art scene at that time and for numerous years the catalogue of this exhibition was the “bible” of my gallery. The majority of the artists selected for the exhibition are today key references in Europe.

Ten years latter, another touring exhibition “The Glass Skin” was presented in 1999 in Düsseldorf, Cobourg, Sapporo, New York a and was another mile-stone in the history of modern glass art.

The success of such a major event requires serious curators and an in-depth organization ; the selection of the artists is very important and need to be done within today’s contemporary art criteria.

What can be said about “CONNECTIONS 09” ? This exhibition will not remain in the annals of history. A set-up done in precipitation, a failing organization, artists requested to pay for their contribution, fact never seen before. A catalogue with pictures of art works that are not the corresponding to works shown at the exhibition.

The positioning and appropriate use of space by the art works is poor, the lightening nearly not existing, the space itself impersonal and cold, waking up memories of a certain regime. Most of the works shown have artistically no interest and reflect things already seen on other occasions.

Mr. Handl, may I suggest you concentrate on your activity as an artist leaving to professionals the set-up of exhibitions intended to make contemporary glass art advance and so we can avoid such negative and unproductive events.

What could be said about the curators of this exhibition ?  It is not sufficient writing a preface to a catalogue ; please dare to engage in an artistically founded choice that will determine your long-term vision for this medium.

This exhibition will not contribute to strengthen Czech Glass art ; fortunately our group of 14 collectors visiting multiple artists’ studios during their recent trip could contemplate art works and projects of a more valuable artistic level.

 Jean Claude Chapelotte
 Galerie Jean Claude chapelotte

MERCI DE NOUS CONTACTER, JE VOUDRAIS VOUS ECLAIRER SUR MES RAPPORTS AVEC LE COUPLE “ BRYCHTOVA ET LIBENSKY “
 :
Thank you for contacting us. I would like to clarify my relationship with the couple Brychtova and Libensky.

DEPUIS 1991 JE REPRESENTE LEURS TRAVAUX EN GALERIE ET CEUX DES ELEVES DU PROFESSEUR LIBENSKY .(ECOLE DES BEAUX ARTS DE PRAGUE)

I work since 1991 showing their work in a gallery along with the work of Professor Libensky’s students (School of Fine Arts, Prague)

AVANT SA MORT LIBENSKY A LEGUE A MADAME BRYCHTOVA UN NOMBRE CONSIDERABLE DE DESSINS PREPARATOIRES .
A CE JOUR ; SEUL UN PROJET D’ UNE ŒUVRE A ETE REALISEE SANS LA PRESENCE DU PROFESSEUR LIBENSKY ;"STATURE" PRESENTE DANS LA RETROSPECTIVE DE LUXEMBOURG .

Before his death Libensky bequeathed a considerable number of preparatory drawings to Brychtova. Up to that time only one project from one art work had been made without Libensky’s presence : “Stature” presently in the retrospective at Luxembourg.

CHAQUE ŒUVRE EST DISPONIBLE DANS UNE SERIE DE 7 PIECES ;
LES ŒUVRES DISPONIBLES APRES 2002 SONT LES COMMANDES PASSEES ANTERIEUREMENT PAR SES GALERIES ET LES SERIES NON COMPLETEES A 7 .80% DES MODELES NE SERONT PLUS REFAITS .

Each work is available in a seven part series ; the post-2002 works available are the commissions showed previously by his galleries and the series not finished to seven parts. 80% of the artist’s models will not be remade.

DOIT ON ATTRIBUER LES VITRAUX DE “ BRNO “ (UNESCO) AU COUPLE OU SEULEMENT A CELLE (BRYCHTOVA) QUI A TERMINE LES TRAVAUX D APRES DES DESSINS DE LIBENSKY ?.

Should we attribute the Vitraux de Brno (UNESCO) to the couple or only to her (Brychtova) who finished the work by following Libensky’s drawings ?

LA CATHEDRALE DE “ GAUDY“ A BARCELONE SERA T ELLE DÉBÂTISSEE ? NON JE NE PENSE PAS.......

Will the Gaudi Cathedral at Barcelona have its name changed ? No, I think not. 


PERSONNELLEMENT JE NE VOIS AUCUNE DIFFERENCE SUR LES PIECES REALISEES AUJOURD HUI SI CE N EST LA SIGNATURE LIBENSKY-BRYCHTOVA QUI COMPORTE LA DATE DE CREATION DU MODELE ET LA DATE DE REALISATION .AVEC TOUTE L HONNETETE INTELLECTUELLE QUE CELA COMPORTE.

Personally I see no difference in the pieces made today if it’s not the Libensky-Brychtova signature that implies the date the artist’s model was created and the date the work was made, with all the intellectual honesty which that entails.