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\n <\/div>\n <\/div>\n Jozef Suchoz\u030ca \u2013 Portfolio 1<\/h3>\n <\/template>\n \n \n\n \n \n \n ![\"\"](\"https:\/\/www.lucernatv.cz\/wp-content\/uploads\/2021\/02\/Jozef-Suchoz\u030ca-\u2013-Portfolio-1-1920x2715.jpg\")
\n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 1<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 2<\/h3>\n <\/template>\n \n \n\n \n \n \n ![\"\"](\"https:\/\/www.lucernatv.cz\/wp-content\/uploads\/2021\/02\/Jozef-Suchoz\u030ca-\u2013-Portfolio-2-1920x2715.jpg\")
\n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 2<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 3<\/h3>\n <\/template>\n \n \n\n \n \n \n ![\"\"](\"https:\/\/www.lucernatv.cz\/wp-content\/uploads\/2021\/02\/Jozef-Suchoz\u030ca-\u2013-Portfolio-3-1920x2715.jpg\")
\n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 3<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 4<\/h3>\n <\/template>\n \n \n\n \n \n \n ![\"\"](\"https:\/\/www.lucernatv.cz\/wp-content\/uploads\/2021\/02\/Jozef-Suchoz\u030ca-\u2013-Portfolio-4-1920x2715.jpg\")
\n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 4<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 5<\/h3>\n <\/template>\n \n \n\n \n \n \n ![\"\"](\"https:\/\/www.lucernatv.cz\/wp-content\/uploads\/2021\/02\/Jozef-Suchoz\u030ca-\u2013-Portfolio-5-1920x2715.jpg\")
\n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 5<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 6<\/h3>\n <\/template>\n \n \n\n \n \n \n ![\"\"](\"https:\/\/www.lucernatv.cz\/wp-content\/uploads\/2021\/02\/Jozef-Suchoz\u030ca-\u2013-Portfolio-6-1920x2715.jpg\")
\n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 6<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 7<\/h3>\n <\/template>\n \n \n\n \n \n \n ![\"\"](\"https:\/\/www.lucernatv.cz\/wp-content\/uploads\/2021\/02\/Jozef-Suchoz\u030ca-\u2013-Portfolio-7-1920x2715.jpg\")
\n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 7<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 8<\/h3>\n <\/template>\n \n \n\n \n \n \n ![\"\"](\"https:\/\/www.lucernatv.cz\/wp-content\/uploads\/2021\/02\/Jozef-Suchoz\u030ca-\u2013-Portfolio-8-1920x2715.jpg\")
\n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 8<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 9<\/h3>\n <\/template>\n \n \n\n \n \n \n ![\"\"](\"https:\/\/www.lucernatv.cz\/wp-content\/uploads\/2021\/02\/Jozef-Suchoz\u030ca-\u2013-Portfolio-9-1920x2715.jpg\")
\n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 9<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Absolvoval v roce 2003 v socha\u0159sk\u00e9m ateli\u00e9ru doc. Juraje Sapary na Fakult\u011b v\u00fdtvarn\u00fdch um\u011bn\u00ed Akademie um\u011bn\u00ed v Bansk\u00e9 Bystrici. V roce 2010 z\u00edskal doktor\u00e1t, od roku 2004 p\u016fsob\u00ed jako asistent na kated\u0159e socha\u0159stv\u00ed zm\u00edn\u011bn\u00e9 instituce.<\/p>\n\n\n\n
Jeho t\u00e9matem nen\u00ed je socha jako takov\u00e1, ale velmi \u010dasto instalace, objekty, intervence do ready made, intermedia a performance. Vizualita b\u00fdv\u00e1 dopln\u011bna zvukem, pohybliv\u00fdm obrazem, p\u0159\u00edtomn\u00fdmi z\u00e1sahy \u017eivl\u016f jako jsou voda nebo ohe\u0148. Prostorem pro tvorbu, krom\u011b ateli\u00e9ru, jsou nej\u010dast\u011bji sympozia, kde vyu\u017e\u00edv\u00e1 mo\u017enosti v \u010dase pracovat se zvolen\u00fdm materi\u00e1lem \u010dasto i v\u011bt\u0161\u00edch rozm\u011br\u016f a, a to je d\u016fle\u017eit\u00e9, v sousedstv\u00ed podobn\u011b sm\u00fd\u0161lej\u00edc\u00edch tv\u016frc\u016f. Do jeho tvorby vstupuje v posledn\u00ed dob\u011b ironick\u00e1 nota, kterou Sucho\u017ea komentuje aktu\u00e1ln\u00ed politick\u00e1 t\u00e9mata, ale nikoliv jen up to date, ale s v\u00fdrazn\u00fdm \u010dasov\u00fdm i emocion\u00e1ln\u00edm p\u0159esahem, do budoucnosti i historie.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h3>\n <\/template>\n \n \n\n \n \n \n ![\"\"](\"https:\/\/www.lucernatv.cz\/wp-content\/uploads\/2021\/02\/Jozef-Suchoz\u030ca-\u2013-Portfolio-10-1920x2715.jpg\")
\n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h3>\n <\/template>\n \n \n\n \n \n \n ![\"\"](\"https:\/\/www.lucernatv.cz\/wp-content\/uploads\/2021\/02\/Jozef-Suchoz\u030ca-\u2013-Portfolio-11-1920x2715.jpg\")
\n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h3>\n <\/template>\n \n \n\n \n \n \n ![\"\"](\"https:\/\/www.lucernatv.cz\/wp-content\/uploads\/2021\/02\/Jozef-Suchoz\u030ca-\u2013-Portfolio-12-1920x2715.jpg\")
\n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h3>\n <\/template>\n \n \n\n \n \n \n ![\"\"](\"https:\/\/www.lucernatv.cz\/wp-content\/uploads\/2021\/02\/Jozef-Suchoz\u030ca-\u2013-Portfolio-13-1920x2715.jpg\")
\n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h3>\n <\/template>\n \n \n\n \n \n \n ![\"\"](\"https:\/\/www.lucernatv.cz\/wp-content\/uploads\/2021\/02\/Jozef-Suchoz\u030ca-\u2013-Portfolio-14-1920x2715.jpg\")
\n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h3>\n <\/template>\n \n \n\n \n \n \n ![\"\"](\"https:\/\/www.lucernatv.cz\/wp-content\/uploads\/2021\/02\/Jozef-Suchoz\u030ca-\u2013-Portfolio-15-1920x2715.jpg\")
\n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h3>\n <\/template>\n \n \n\n \n \n \n ![\"\"](\"https:\/\/www.lucernatv.cz\/wp-content\/uploads\/2021\/02\/Jozef-Suchoz\u030ca-\u2013-Portfolio-16-1920x2715.jpg\")
\n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h3>\n <\/template>\n \n \n\n \n \n \n ![\"\"](\"https:\/\/www.lucernatv.cz\/wp-content\/uploads\/2021\/02\/Jozef-Suchoz\u030ca-\u2013-Portfolio-17-1920x2715.jpg\")
\n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h3>\n <\/template>\n \n \n\n \n \n \n ![\"\"](\"https:\/\/www.lucernatv.cz\/wp-content\/uploads\/2021\/02\/Jozef-Suchoz\u030ca-\u2013-Portfolio-18-1920x2715.jpg\")
\n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Tak nap\u0159\u00edklad jeden z ned\u00e1vn\u00fdch ro\u010dn\u00edk\u016f mezin\u00e1rodn\u00edho sympozia v ma\u010farsk\u00e9m Ceredu m\u011bl sjednocuj\u00edc\u00ed t\u00e9ma Odd\u011blen\u00e9 prostory \/ Separated spaces a pod\u00edleli se na n\u011bm tv\u016frci z po\u0159\u00e1daj\u00edc\u00edho Ma\u010farska, d\u00e1le z Finska, Rumunska, Slovenska a \u010cesk\u00e9 republiky. T\u00e9ma je dostate\u010dn\u011b metaforick\u00e9, ale i konkr\u00e9tn\u00ed, aby se mohlo st\u00e1t prostorem pro vyj\u00e1d\u0159en\u00ed soukrom\u00fdch, intimn\u00edch i spole\u010densk\u00fdch stav\u016f, akc\u00ed \u010di situac\u00ed. Samoz\u0159ejm\u011b by mohlo sv\u00e1d\u011bt k bezprost\u0159edn\u00ed reflexi tehdy vyhrocen\u00e9 situace uprchlick\u00e9 krize. Sucho\u017ea tak u\u010dinil s ironick\u00fdm, a\u017e sarkastick\u00fdm odstupem, mohlo by se zd\u00e1t a\u017e blasfemick\u00fdm, kdy\u017e p\u0159edstavil svou multiplikovanou sochu tradi\u010dn\u00ed evropsk\u00e9 stoj\u00edc\u00ed madony se sepjat\u00fdma rukama, le\u010d s nik\u00e1bem na hlav\u011b.<\/p>\n\n\n\n
To je jedna z lini\u00ed jeho aktu\u00e1ln\u00ed tvorby, kterou d\u00e1le rozv\u00edj\u00ed, kdy\u017e na re\u00e1ln\u00e9, materi\u00e1ln\u00ed \u00farovni kombinuje a spojuje p\u0159edm\u011bty typick\u00e9 pro r\u016fzn\u00e1 sv\u011btov\u00e1 n\u00e1bo\u017eenstv\u00ed. Tak strom \u017eivot, hebrejsky acej chajim, jsou d\u0159ev\u011bn\u00e9 v\u00e1lce s ozdobn\u00fdmi dr\u017eadly, na kter\u00fd je navinuta T\u00f3ra, tedy p\u011bt Knih Moj\u017e\u00ed\u0161ov\u00fdch Star\u00e9ho z\u00e1kona. Sucho\u017ea na n\u011b navine muslimsk\u00fd modlitebn\u00ed koberec\u2026 Tradi\u010dn\u00ed k\u0159es\u0165ansk\u00e9 klek\u00e1tko s podu\u0161kou pod lokty ur\u010den\u00e9 k soukrom\u00e9 intimn\u00ed modlitb\u011b opolstruje \u010dern\u00fdm sametem se zlat\u00fdm arabsk\u00fdm n\u00e1zvem All\u00e1hu Akbar. P\u0159echodem k druh\u00e9, paramilit\u00e1rn\u00ed \u010di pseudomilit\u00e1rn\u00ed tematick\u00e9 linii je so\u0161ka madony v nik\u00e1bu, stoj\u00edc\u00ed na zem\u011bkouli, jakoby v parodick\u00e9m a kontroverzn\u00edm inverzn\u00edm obr\u00e1cen\u00ed sekul\u00e1rn\u00ed ikony, trofeje pro mistry sv\u011bta v kopan\u00e9, kter\u00e1 od roku 1971 nahradila ukradenou Zlatou Nik\u00e9. A vlastn\u011b nestoj\u00ed, ale je horizont\u00e1ln\u011b ulo\u017eena do vojensk\u00e9 d\u0159ev\u011bn\u00e9 bedny v zelen\u00e9 barv\u011b, ur\u010den\u00e9 sp\u00ed\u0161e pro minometn\u00e9 st\u0159ely. To milit\u00e1rn\u00ed t\u00e9ma variuje i na jin\u00fdch sympozi\u00edch, nej\u010dast\u011bji zl\u00ednsk\u00e9m Panta Rhei (vojensk\u00e1 v\u00e1le\u010dn\u00e1 nos\u00edtka, jejich\u017e madla jsou osazena velk\u00fdmi r\u016f\u017eov\u00fdmi trny, jak zde nesly\u0161et ozv\u011bnu Josepha Beyuse\u2026). Na principu kontrastu a ne\u010dekan\u00fdch, provokativn\u00edch, a\u017e \u2013 jak ji\u017e \u0159e\u010deno \u2013 rouhav\u00fdch konfrontac\u00ed stav\u00ed vedle sebe a k sob\u011b sv\u011bty zcela nesourod\u00e9 \u2013 protitankov\u00e1 mina zdoben\u00e1 lidov\u00fdm ornamentem. D\u00e1rkov\u00e1 sada s ru\u010dn\u00ed \u00fato\u010dnou zbran\u00ed, ocelov\u00fdm boxerem nebo podivn\u00e1 zbra\u0148 tvo\u0159en\u00e1 \u017eulovou kostkou na d\u0159ev\u011bn\u00e9m madle. Jsme sv\u011bdky konfrontace dvou sv\u011bt\u016f, kter\u00e9 jsou ale nesourod\u00e9 jen zd\u00e1nliv\u011b, ony toti\u017e tady vedle n\u00e1s, v n\u00e1s, s n\u00e1mi denn\u011b jsou, spolupod\u00edl\u00ed se na celku na\u0161eho sv\u011bta, zneji\u0161\u0165uj\u00ed n\u00e1m jej, \u010din\u00ed jej nesamoz\u0159ejm\u00fdm, a tedy, paradoxn\u011b, jedin\u011b mo\u017en\u00fdm, re\u00e1ln\u00fdm, skute\u010dn\u00fdm.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h3>\n <\/template>\n \n \n\n \n \n \n ![\"\"](\"https:\/\/www.lucernatv.cz\/wp-content\/uploads\/2021\/02\/Jozef-Suchoz\u030ca-\u2013-Portfolio-19-1920x2715.jpg\")
\n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n ![\"\"](\"https:\/\/www.lucernatv.cz\/wp-content\/uploads\/2021\/02\/Jozef-Suchoz\u030ca-\u2013-Portfolio-20-1920x2715.jpg\")
\n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n ![\"\"](\"https:\/\/www.lucernatv.cz\/wp-content\/uploads\/2021\/02\/Jozef-Suchoz\u030ca-\u2013-Portfolio-21-1920x2715.jpg\")
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\n <\/a> <\/div>\n<\/div>\n\n\n Jozef Suchoz\u030ca \u2013 Portfolio 1<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 2<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 2<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 3<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 3<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 4<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 4<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 5<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 5<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 6<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 6<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 7<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 7<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 8<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 8<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 9<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 9<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Absolvoval v roce 2003 v socha\u0159sk\u00e9m ateli\u00e9ru doc. Juraje Sapary na Fakult\u011b v\u00fdtvarn\u00fdch um\u011bn\u00ed Akademie um\u011bn\u00ed v Bansk\u00e9 Bystrici. V roce 2010 z\u00edskal doktor\u00e1t, od roku 2004 p\u016fsob\u00ed jako asistent na kated\u0159e socha\u0159stv\u00ed zm\u00edn\u011bn\u00e9 instituce.<\/p>\n\n\n\n
Jeho t\u00e9matem nen\u00ed je socha jako takov\u00e1, ale velmi \u010dasto instalace, objekty, intervence do ready made, intermedia a performance. Vizualita b\u00fdv\u00e1 dopln\u011bna zvukem, pohybliv\u00fdm obrazem, p\u0159\u00edtomn\u00fdmi z\u00e1sahy \u017eivl\u016f jako jsou voda nebo ohe\u0148. Prostorem pro tvorbu, krom\u011b ateli\u00e9ru, jsou nej\u010dast\u011bji sympozia, kde vyu\u017e\u00edv\u00e1 mo\u017enosti v \u010dase pracovat se zvolen\u00fdm materi\u00e1lem \u010dasto i v\u011bt\u0161\u00edch rozm\u011br\u016f a, a to je d\u016fle\u017eit\u00e9, v sousedstv\u00ed podobn\u011b sm\u00fd\u0161lej\u00edc\u00edch tv\u016frc\u016f. Do jeho tvorby vstupuje v posledn\u00ed dob\u011b ironick\u00e1 nota, kterou Sucho\u017ea komentuje aktu\u00e1ln\u00ed politick\u00e1 t\u00e9mata, ale nikoliv jen up to date, ale s v\u00fdrazn\u00fdm \u010dasov\u00fdm i emocion\u00e1ln\u00edm p\u0159esahem, do budoucnosti i historie.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Tak nap\u0159\u00edklad jeden z ned\u00e1vn\u00fdch ro\u010dn\u00edk\u016f mezin\u00e1rodn\u00edho sympozia v ma\u010farsk\u00e9m Ceredu m\u011bl sjednocuj\u00edc\u00ed t\u00e9ma Odd\u011blen\u00e9 prostory \/ Separated spaces a pod\u00edleli se na n\u011bm tv\u016frci z po\u0159\u00e1daj\u00edc\u00edho Ma\u010farska, d\u00e1le z Finska, Rumunska, Slovenska a \u010cesk\u00e9 republiky. T\u00e9ma je dostate\u010dn\u011b metaforick\u00e9, ale i konkr\u00e9tn\u00ed, aby se mohlo st\u00e1t prostorem pro vyj\u00e1d\u0159en\u00ed soukrom\u00fdch, intimn\u00edch i spole\u010densk\u00fdch stav\u016f, akc\u00ed \u010di situac\u00ed. Samoz\u0159ejm\u011b by mohlo sv\u00e1d\u011bt k bezprost\u0159edn\u00ed reflexi tehdy vyhrocen\u00e9 situace uprchlick\u00e9 krize. Sucho\u017ea tak u\u010dinil s ironick\u00fdm, a\u017e sarkastick\u00fdm odstupem, mohlo by se zd\u00e1t a\u017e blasfemick\u00fdm, kdy\u017e p\u0159edstavil svou multiplikovanou sochu tradi\u010dn\u00ed evropsk\u00e9 stoj\u00edc\u00ed madony se sepjat\u00fdma rukama, le\u010d s nik\u00e1bem na hlav\u011b.<\/p>\n\n\n\n
To je jedna z lini\u00ed jeho aktu\u00e1ln\u00ed tvorby, kterou d\u00e1le rozv\u00edj\u00ed, kdy\u017e na re\u00e1ln\u00e9, materi\u00e1ln\u00ed \u00farovni kombinuje a spojuje p\u0159edm\u011bty typick\u00e9 pro r\u016fzn\u00e1 sv\u011btov\u00e1 n\u00e1bo\u017eenstv\u00ed. Tak strom \u017eivot, hebrejsky acej chajim, jsou d\u0159ev\u011bn\u00e9 v\u00e1lce s ozdobn\u00fdmi dr\u017eadly, na kter\u00fd je navinuta T\u00f3ra, tedy p\u011bt Knih Moj\u017e\u00ed\u0161ov\u00fdch Star\u00e9ho z\u00e1kona. Sucho\u017ea na n\u011b navine muslimsk\u00fd modlitebn\u00ed koberec\u2026 Tradi\u010dn\u00ed k\u0159es\u0165ansk\u00e9 klek\u00e1tko s podu\u0161kou pod lokty ur\u010den\u00e9 k soukrom\u00e9 intimn\u00ed modlitb\u011b opolstruje \u010dern\u00fdm sametem se zlat\u00fdm arabsk\u00fdm n\u00e1zvem All\u00e1hu Akbar. P\u0159echodem k druh\u00e9, paramilit\u00e1rn\u00ed \u010di pseudomilit\u00e1rn\u00ed tematick\u00e9 linii je so\u0161ka madony v nik\u00e1bu, stoj\u00edc\u00ed na zem\u011bkouli, jakoby v parodick\u00e9m a kontroverzn\u00edm inverzn\u00edm obr\u00e1cen\u00ed sekul\u00e1rn\u00ed ikony, trofeje pro mistry sv\u011bta v kopan\u00e9, kter\u00e1 od roku 1971 nahradila ukradenou Zlatou Nik\u00e9. A vlastn\u011b nestoj\u00ed, ale je horizont\u00e1ln\u011b ulo\u017eena do vojensk\u00e9 d\u0159ev\u011bn\u00e9 bedny v zelen\u00e9 barv\u011b, ur\u010den\u00e9 sp\u00ed\u0161e pro minometn\u00e9 st\u0159ely. To milit\u00e1rn\u00ed t\u00e9ma variuje i na jin\u00fdch sympozi\u00edch, nej\u010dast\u011bji zl\u00ednsk\u00e9m Panta Rhei (vojensk\u00e1 v\u00e1le\u010dn\u00e1 nos\u00edtka, jejich\u017e madla jsou osazena velk\u00fdmi r\u016f\u017eov\u00fdmi trny, jak zde nesly\u0161et ozv\u011bnu Josepha Beyuse\u2026). Na principu kontrastu a ne\u010dekan\u00fdch, provokativn\u00edch, a\u017e \u2013 jak ji\u017e \u0159e\u010deno \u2013 rouhav\u00fdch konfrontac\u00ed stav\u00ed vedle sebe a k sob\u011b sv\u011bty zcela nesourod\u00e9 \u2013 protitankov\u00e1 mina zdoben\u00e1 lidov\u00fdm ornamentem. D\u00e1rkov\u00e1 sada s ru\u010dn\u00ed \u00fato\u010dnou zbran\u00ed, ocelov\u00fdm boxerem nebo podivn\u00e1 zbra\u0148 tvo\u0159en\u00e1 \u017eulovou kostkou na d\u0159ev\u011bn\u00e9m madle. Jsme sv\u011bdky konfrontace dvou sv\u011bt\u016f, kter\u00e9 jsou ale nesourod\u00e9 jen zd\u00e1nliv\u011b, ony toti\u017e tady vedle n\u00e1s, v n\u00e1s, s n\u00e1mi denn\u011b jsou, spolupod\u00edl\u00ed se na celku na\u0161eho sv\u011bta, zneji\u0161\u0165uj\u00ed n\u00e1m jej, \u010din\u00ed jej nesamoz\u0159ejm\u00fdm, a tedy, paradoxn\u011b, jedin\u011b mo\u017en\u00fdm, re\u00e1ln\u00fdm, skute\u010dn\u00fdm.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
Jozef Suchoz\u030ca \u2013 Portfolio 2<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 2<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 3<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 3<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 4<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 4<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 5<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 5<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 6<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 6<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 7<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 7<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 8<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 8<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 9<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 9<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Absolvoval v roce 2003 v socha\u0159sk\u00e9m ateli\u00e9ru doc. Juraje Sapary na Fakult\u011b v\u00fdtvarn\u00fdch um\u011bn\u00ed Akademie um\u011bn\u00ed v Bansk\u00e9 Bystrici. V roce 2010 z\u00edskal doktor\u00e1t, od roku 2004 p\u016fsob\u00ed jako asistent na kated\u0159e socha\u0159stv\u00ed zm\u00edn\u011bn\u00e9 instituce.<\/p>\n\n\n\n
Jeho t\u00e9matem nen\u00ed je socha jako takov\u00e1, ale velmi \u010dasto instalace, objekty, intervence do ready made, intermedia a performance. Vizualita b\u00fdv\u00e1 dopln\u011bna zvukem, pohybliv\u00fdm obrazem, p\u0159\u00edtomn\u00fdmi z\u00e1sahy \u017eivl\u016f jako jsou voda nebo ohe\u0148. Prostorem pro tvorbu, krom\u011b ateli\u00e9ru, jsou nej\u010dast\u011bji sympozia, kde vyu\u017e\u00edv\u00e1 mo\u017enosti v \u010dase pracovat se zvolen\u00fdm materi\u00e1lem \u010dasto i v\u011bt\u0161\u00edch rozm\u011br\u016f a, a to je d\u016fle\u017eit\u00e9, v sousedstv\u00ed podobn\u011b sm\u00fd\u0161lej\u00edc\u00edch tv\u016frc\u016f. Do jeho tvorby vstupuje v posledn\u00ed dob\u011b ironick\u00e1 nota, kterou Sucho\u017ea komentuje aktu\u00e1ln\u00ed politick\u00e1 t\u00e9mata, ale nikoliv jen up to date, ale s v\u00fdrazn\u00fdm \u010dasov\u00fdm i emocion\u00e1ln\u00edm p\u0159esahem, do budoucnosti i historie.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Tak nap\u0159\u00edklad jeden z ned\u00e1vn\u00fdch ro\u010dn\u00edk\u016f mezin\u00e1rodn\u00edho sympozia v ma\u010farsk\u00e9m Ceredu m\u011bl sjednocuj\u00edc\u00ed t\u00e9ma Odd\u011blen\u00e9 prostory \/ Separated spaces a pod\u00edleli se na n\u011bm tv\u016frci z po\u0159\u00e1daj\u00edc\u00edho Ma\u010farska, d\u00e1le z Finska, Rumunska, Slovenska a \u010cesk\u00e9 republiky. T\u00e9ma je dostate\u010dn\u011b metaforick\u00e9, ale i konkr\u00e9tn\u00ed, aby se mohlo st\u00e1t prostorem pro vyj\u00e1d\u0159en\u00ed soukrom\u00fdch, intimn\u00edch i spole\u010densk\u00fdch stav\u016f, akc\u00ed \u010di situac\u00ed. Samoz\u0159ejm\u011b by mohlo sv\u00e1d\u011bt k bezprost\u0159edn\u00ed reflexi tehdy vyhrocen\u00e9 situace uprchlick\u00e9 krize. Sucho\u017ea tak u\u010dinil s ironick\u00fdm, a\u017e sarkastick\u00fdm odstupem, mohlo by se zd\u00e1t a\u017e blasfemick\u00fdm, kdy\u017e p\u0159edstavil svou multiplikovanou sochu tradi\u010dn\u00ed evropsk\u00e9 stoj\u00edc\u00ed madony se sepjat\u00fdma rukama, le\u010d s nik\u00e1bem na hlav\u011b.<\/p>\n\n\n\n
To je jedna z lini\u00ed jeho aktu\u00e1ln\u00ed tvorby, kterou d\u00e1le rozv\u00edj\u00ed, kdy\u017e na re\u00e1ln\u00e9, materi\u00e1ln\u00ed \u00farovni kombinuje a spojuje p\u0159edm\u011bty typick\u00e9 pro r\u016fzn\u00e1 sv\u011btov\u00e1 n\u00e1bo\u017eenstv\u00ed. Tak strom \u017eivot, hebrejsky acej chajim, jsou d\u0159ev\u011bn\u00e9 v\u00e1lce s ozdobn\u00fdmi dr\u017eadly, na kter\u00fd je navinuta T\u00f3ra, tedy p\u011bt Knih Moj\u017e\u00ed\u0161ov\u00fdch Star\u00e9ho z\u00e1kona. Sucho\u017ea na n\u011b navine muslimsk\u00fd modlitebn\u00ed koberec\u2026 Tradi\u010dn\u00ed k\u0159es\u0165ansk\u00e9 klek\u00e1tko s podu\u0161kou pod lokty ur\u010den\u00e9 k soukrom\u00e9 intimn\u00ed modlitb\u011b opolstruje \u010dern\u00fdm sametem se zlat\u00fdm arabsk\u00fdm n\u00e1zvem All\u00e1hu Akbar. P\u0159echodem k druh\u00e9, paramilit\u00e1rn\u00ed \u010di pseudomilit\u00e1rn\u00ed tematick\u00e9 linii je so\u0161ka madony v nik\u00e1bu, stoj\u00edc\u00ed na zem\u011bkouli, jakoby v parodick\u00e9m a kontroverzn\u00edm inverzn\u00edm obr\u00e1cen\u00ed sekul\u00e1rn\u00ed ikony, trofeje pro mistry sv\u011bta v kopan\u00e9, kter\u00e1 od roku 1971 nahradila ukradenou Zlatou Nik\u00e9. A vlastn\u011b nestoj\u00ed, ale je horizont\u00e1ln\u011b ulo\u017eena do vojensk\u00e9 d\u0159ev\u011bn\u00e9 bedny v zelen\u00e9 barv\u011b, ur\u010den\u00e9 sp\u00ed\u0161e pro minometn\u00e9 st\u0159ely. To milit\u00e1rn\u00ed t\u00e9ma variuje i na jin\u00fdch sympozi\u00edch, nej\u010dast\u011bji zl\u00ednsk\u00e9m Panta Rhei (vojensk\u00e1 v\u00e1le\u010dn\u00e1 nos\u00edtka, jejich\u017e madla jsou osazena velk\u00fdmi r\u016f\u017eov\u00fdmi trny, jak zde nesly\u0161et ozv\u011bnu Josepha Beyuse\u2026). Na principu kontrastu a ne\u010dekan\u00fdch, provokativn\u00edch, a\u017e \u2013 jak ji\u017e \u0159e\u010deno \u2013 rouhav\u00fdch konfrontac\u00ed stav\u00ed vedle sebe a k sob\u011b sv\u011bty zcela nesourod\u00e9 \u2013 protitankov\u00e1 mina zdoben\u00e1 lidov\u00fdm ornamentem. D\u00e1rkov\u00e1 sada s ru\u010dn\u00ed \u00fato\u010dnou zbran\u00ed, ocelov\u00fdm boxerem nebo podivn\u00e1 zbra\u0148 tvo\u0159en\u00e1 \u017eulovou kostkou na d\u0159ev\u011bn\u00e9m madle. Jsme sv\u011bdky konfrontace dvou sv\u011bt\u016f, kter\u00e9 jsou ale nesourod\u00e9 jen zd\u00e1nliv\u011b, ony toti\u017e tady vedle n\u00e1s, v n\u00e1s, s n\u00e1mi denn\u011b jsou, spolupod\u00edl\u00ed se na celku na\u0161eho sv\u011bta, zneji\u0161\u0165uj\u00ed n\u00e1m jej, \u010din\u00ed jej nesamoz\u0159ejm\u00fdm, a tedy, paradoxn\u011b, jedin\u011b mo\u017en\u00fdm, re\u00e1ln\u00fdm, skute\u010dn\u00fdm.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
\n <\/a> <\/div>\n<\/div>\n\n\n Jozef Suchoz\u030ca \u2013 Portfolio 2<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 3<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 3<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 4<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 4<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 5<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 5<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 6<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 6<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 7<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 7<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 8<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 8<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 9<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 9<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Absolvoval v roce 2003 v socha\u0159sk\u00e9m ateli\u00e9ru doc. Juraje Sapary na Fakult\u011b v\u00fdtvarn\u00fdch um\u011bn\u00ed Akademie um\u011bn\u00ed v Bansk\u00e9 Bystrici. V roce 2010 z\u00edskal doktor\u00e1t, od roku 2004 p\u016fsob\u00ed jako asistent na kated\u0159e socha\u0159stv\u00ed zm\u00edn\u011bn\u00e9 instituce.<\/p>\n\n\n\n
Jeho t\u00e9matem nen\u00ed je socha jako takov\u00e1, ale velmi \u010dasto instalace, objekty, intervence do ready made, intermedia a performance. Vizualita b\u00fdv\u00e1 dopln\u011bna zvukem, pohybliv\u00fdm obrazem, p\u0159\u00edtomn\u00fdmi z\u00e1sahy \u017eivl\u016f jako jsou voda nebo ohe\u0148. Prostorem pro tvorbu, krom\u011b ateli\u00e9ru, jsou nej\u010dast\u011bji sympozia, kde vyu\u017e\u00edv\u00e1 mo\u017enosti v \u010dase pracovat se zvolen\u00fdm materi\u00e1lem \u010dasto i v\u011bt\u0161\u00edch rozm\u011br\u016f a, a to je d\u016fle\u017eit\u00e9, v sousedstv\u00ed podobn\u011b sm\u00fd\u0161lej\u00edc\u00edch tv\u016frc\u016f. Do jeho tvorby vstupuje v posledn\u00ed dob\u011b ironick\u00e1 nota, kterou Sucho\u017ea komentuje aktu\u00e1ln\u00ed politick\u00e1 t\u00e9mata, ale nikoliv jen up to date, ale s v\u00fdrazn\u00fdm \u010dasov\u00fdm i emocion\u00e1ln\u00edm p\u0159esahem, do budoucnosti i historie.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Tak nap\u0159\u00edklad jeden z ned\u00e1vn\u00fdch ro\u010dn\u00edk\u016f mezin\u00e1rodn\u00edho sympozia v ma\u010farsk\u00e9m Ceredu m\u011bl sjednocuj\u00edc\u00ed t\u00e9ma Odd\u011blen\u00e9 prostory \/ Separated spaces a pod\u00edleli se na n\u011bm tv\u016frci z po\u0159\u00e1daj\u00edc\u00edho Ma\u010farska, d\u00e1le z Finska, Rumunska, Slovenska a \u010cesk\u00e9 republiky. T\u00e9ma je dostate\u010dn\u011b metaforick\u00e9, ale i konkr\u00e9tn\u00ed, aby se mohlo st\u00e1t prostorem pro vyj\u00e1d\u0159en\u00ed soukrom\u00fdch, intimn\u00edch i spole\u010densk\u00fdch stav\u016f, akc\u00ed \u010di situac\u00ed. Samoz\u0159ejm\u011b by mohlo sv\u00e1d\u011bt k bezprost\u0159edn\u00ed reflexi tehdy vyhrocen\u00e9 situace uprchlick\u00e9 krize. Sucho\u017ea tak u\u010dinil s ironick\u00fdm, a\u017e sarkastick\u00fdm odstupem, mohlo by se zd\u00e1t a\u017e blasfemick\u00fdm, kdy\u017e p\u0159edstavil svou multiplikovanou sochu tradi\u010dn\u00ed evropsk\u00e9 stoj\u00edc\u00ed madony se sepjat\u00fdma rukama, le\u010d s nik\u00e1bem na hlav\u011b.<\/p>\n\n\n\n
To je jedna z lini\u00ed jeho aktu\u00e1ln\u00ed tvorby, kterou d\u00e1le rozv\u00edj\u00ed, kdy\u017e na re\u00e1ln\u00e9, materi\u00e1ln\u00ed \u00farovni kombinuje a spojuje p\u0159edm\u011bty typick\u00e9 pro r\u016fzn\u00e1 sv\u011btov\u00e1 n\u00e1bo\u017eenstv\u00ed. Tak strom \u017eivot, hebrejsky acej chajim, jsou d\u0159ev\u011bn\u00e9 v\u00e1lce s ozdobn\u00fdmi dr\u017eadly, na kter\u00fd je navinuta T\u00f3ra, tedy p\u011bt Knih Moj\u017e\u00ed\u0161ov\u00fdch Star\u00e9ho z\u00e1kona. Sucho\u017ea na n\u011b navine muslimsk\u00fd modlitebn\u00ed koberec\u2026 Tradi\u010dn\u00ed k\u0159es\u0165ansk\u00e9 klek\u00e1tko s podu\u0161kou pod lokty ur\u010den\u00e9 k soukrom\u00e9 intimn\u00ed modlitb\u011b opolstruje \u010dern\u00fdm sametem se zlat\u00fdm arabsk\u00fdm n\u00e1zvem All\u00e1hu Akbar. P\u0159echodem k druh\u00e9, paramilit\u00e1rn\u00ed \u010di pseudomilit\u00e1rn\u00ed tematick\u00e9 linii je so\u0161ka madony v nik\u00e1bu, stoj\u00edc\u00ed na zem\u011bkouli, jakoby v parodick\u00e9m a kontroverzn\u00edm inverzn\u00edm obr\u00e1cen\u00ed sekul\u00e1rn\u00ed ikony, trofeje pro mistry sv\u011bta v kopan\u00e9, kter\u00e1 od roku 1971 nahradila ukradenou Zlatou Nik\u00e9. A vlastn\u011b nestoj\u00ed, ale je horizont\u00e1ln\u011b ulo\u017eena do vojensk\u00e9 d\u0159ev\u011bn\u00e9 bedny v zelen\u00e9 barv\u011b, ur\u010den\u00e9 sp\u00ed\u0161e pro minometn\u00e9 st\u0159ely. To milit\u00e1rn\u00ed t\u00e9ma variuje i na jin\u00fdch sympozi\u00edch, nej\u010dast\u011bji zl\u00ednsk\u00e9m Panta Rhei (vojensk\u00e1 v\u00e1le\u010dn\u00e1 nos\u00edtka, jejich\u017e madla jsou osazena velk\u00fdmi r\u016f\u017eov\u00fdmi trny, jak zde nesly\u0161et ozv\u011bnu Josepha Beyuse\u2026). Na principu kontrastu a ne\u010dekan\u00fdch, provokativn\u00edch, a\u017e \u2013 jak ji\u017e \u0159e\u010deno \u2013 rouhav\u00fdch konfrontac\u00ed stav\u00ed vedle sebe a k sob\u011b sv\u011bty zcela nesourod\u00e9 \u2013 protitankov\u00e1 mina zdoben\u00e1 lidov\u00fdm ornamentem. D\u00e1rkov\u00e1 sada s ru\u010dn\u00ed \u00fato\u010dnou zbran\u00ed, ocelov\u00fdm boxerem nebo podivn\u00e1 zbra\u0148 tvo\u0159en\u00e1 \u017eulovou kostkou na d\u0159ev\u011bn\u00e9m madle. Jsme sv\u011bdky konfrontace dvou sv\u011bt\u016f, kter\u00e9 jsou ale nesourod\u00e9 jen zd\u00e1nliv\u011b, ony toti\u017e tady vedle n\u00e1s, v n\u00e1s, s n\u00e1mi denn\u011b jsou, spolupod\u00edl\u00ed se na celku na\u0161eho sv\u011bta, zneji\u0161\u0165uj\u00ed n\u00e1m jej, \u010din\u00ed jej nesamoz\u0159ejm\u00fdm, a tedy, paradoxn\u011b, jedin\u011b mo\u017en\u00fdm, re\u00e1ln\u00fdm, skute\u010dn\u00fdm.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
Jozef Suchoz\u030ca \u2013 Portfolio 3<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 3<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 4<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 4<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 5<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 5<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 6<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 6<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 7<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 7<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 8<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 8<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 9<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 9<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Absolvoval v roce 2003 v socha\u0159sk\u00e9m ateli\u00e9ru doc. Juraje Sapary na Fakult\u011b v\u00fdtvarn\u00fdch um\u011bn\u00ed Akademie um\u011bn\u00ed v Bansk\u00e9 Bystrici. V roce 2010 z\u00edskal doktor\u00e1t, od roku 2004 p\u016fsob\u00ed jako asistent na kated\u0159e socha\u0159stv\u00ed zm\u00edn\u011bn\u00e9 instituce.<\/p>\n\n\n\n
Jeho t\u00e9matem nen\u00ed je socha jako takov\u00e1, ale velmi \u010dasto instalace, objekty, intervence do ready made, intermedia a performance. Vizualita b\u00fdv\u00e1 dopln\u011bna zvukem, pohybliv\u00fdm obrazem, p\u0159\u00edtomn\u00fdmi z\u00e1sahy \u017eivl\u016f jako jsou voda nebo ohe\u0148. Prostorem pro tvorbu, krom\u011b ateli\u00e9ru, jsou nej\u010dast\u011bji sympozia, kde vyu\u017e\u00edv\u00e1 mo\u017enosti v \u010dase pracovat se zvolen\u00fdm materi\u00e1lem \u010dasto i v\u011bt\u0161\u00edch rozm\u011br\u016f a, a to je d\u016fle\u017eit\u00e9, v sousedstv\u00ed podobn\u011b sm\u00fd\u0161lej\u00edc\u00edch tv\u016frc\u016f. Do jeho tvorby vstupuje v posledn\u00ed dob\u011b ironick\u00e1 nota, kterou Sucho\u017ea komentuje aktu\u00e1ln\u00ed politick\u00e1 t\u00e9mata, ale nikoliv jen up to date, ale s v\u00fdrazn\u00fdm \u010dasov\u00fdm i emocion\u00e1ln\u00edm p\u0159esahem, do budoucnosti i historie.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Tak nap\u0159\u00edklad jeden z ned\u00e1vn\u00fdch ro\u010dn\u00edk\u016f mezin\u00e1rodn\u00edho sympozia v ma\u010farsk\u00e9m Ceredu m\u011bl sjednocuj\u00edc\u00ed t\u00e9ma Odd\u011blen\u00e9 prostory \/ Separated spaces a pod\u00edleli se na n\u011bm tv\u016frci z po\u0159\u00e1daj\u00edc\u00edho Ma\u010farska, d\u00e1le z Finska, Rumunska, Slovenska a \u010cesk\u00e9 republiky. T\u00e9ma je dostate\u010dn\u011b metaforick\u00e9, ale i konkr\u00e9tn\u00ed, aby se mohlo st\u00e1t prostorem pro vyj\u00e1d\u0159en\u00ed soukrom\u00fdch, intimn\u00edch i spole\u010densk\u00fdch stav\u016f, akc\u00ed \u010di situac\u00ed. Samoz\u0159ejm\u011b by mohlo sv\u00e1d\u011bt k bezprost\u0159edn\u00ed reflexi tehdy vyhrocen\u00e9 situace uprchlick\u00e9 krize. Sucho\u017ea tak u\u010dinil s ironick\u00fdm, a\u017e sarkastick\u00fdm odstupem, mohlo by se zd\u00e1t a\u017e blasfemick\u00fdm, kdy\u017e p\u0159edstavil svou multiplikovanou sochu tradi\u010dn\u00ed evropsk\u00e9 stoj\u00edc\u00ed madony se sepjat\u00fdma rukama, le\u010d s nik\u00e1bem na hlav\u011b.<\/p>\n\n\n\n
To je jedna z lini\u00ed jeho aktu\u00e1ln\u00ed tvorby, kterou d\u00e1le rozv\u00edj\u00ed, kdy\u017e na re\u00e1ln\u00e9, materi\u00e1ln\u00ed \u00farovni kombinuje a spojuje p\u0159edm\u011bty typick\u00e9 pro r\u016fzn\u00e1 sv\u011btov\u00e1 n\u00e1bo\u017eenstv\u00ed. Tak strom \u017eivot, hebrejsky acej chajim, jsou d\u0159ev\u011bn\u00e9 v\u00e1lce s ozdobn\u00fdmi dr\u017eadly, na kter\u00fd je navinuta T\u00f3ra, tedy p\u011bt Knih Moj\u017e\u00ed\u0161ov\u00fdch Star\u00e9ho z\u00e1kona. Sucho\u017ea na n\u011b navine muslimsk\u00fd modlitebn\u00ed koberec\u2026 Tradi\u010dn\u00ed k\u0159es\u0165ansk\u00e9 klek\u00e1tko s podu\u0161kou pod lokty ur\u010den\u00e9 k soukrom\u00e9 intimn\u00ed modlitb\u011b opolstruje \u010dern\u00fdm sametem se zlat\u00fdm arabsk\u00fdm n\u00e1zvem All\u00e1hu Akbar. P\u0159echodem k druh\u00e9, paramilit\u00e1rn\u00ed \u010di pseudomilit\u00e1rn\u00ed tematick\u00e9 linii je so\u0161ka madony v nik\u00e1bu, stoj\u00edc\u00ed na zem\u011bkouli, jakoby v parodick\u00e9m a kontroverzn\u00edm inverzn\u00edm obr\u00e1cen\u00ed sekul\u00e1rn\u00ed ikony, trofeje pro mistry sv\u011bta v kopan\u00e9, kter\u00e1 od roku 1971 nahradila ukradenou Zlatou Nik\u00e9. A vlastn\u011b nestoj\u00ed, ale je horizont\u00e1ln\u011b ulo\u017eena do vojensk\u00e9 d\u0159ev\u011bn\u00e9 bedny v zelen\u00e9 barv\u011b, ur\u010den\u00e9 sp\u00ed\u0161e pro minometn\u00e9 st\u0159ely. To milit\u00e1rn\u00ed t\u00e9ma variuje i na jin\u00fdch sympozi\u00edch, nej\u010dast\u011bji zl\u00ednsk\u00e9m Panta Rhei (vojensk\u00e1 v\u00e1le\u010dn\u00e1 nos\u00edtka, jejich\u017e madla jsou osazena velk\u00fdmi r\u016f\u017eov\u00fdmi trny, jak zde nesly\u0161et ozv\u011bnu Josepha Beyuse\u2026). Na principu kontrastu a ne\u010dekan\u00fdch, provokativn\u00edch, a\u017e \u2013 jak ji\u017e \u0159e\u010deno \u2013 rouhav\u00fdch konfrontac\u00ed stav\u00ed vedle sebe a k sob\u011b sv\u011bty zcela nesourod\u00e9 \u2013 protitankov\u00e1 mina zdoben\u00e1 lidov\u00fdm ornamentem. D\u00e1rkov\u00e1 sada s ru\u010dn\u00ed \u00fato\u010dnou zbran\u00ed, ocelov\u00fdm boxerem nebo podivn\u00e1 zbra\u0148 tvo\u0159en\u00e1 \u017eulovou kostkou na d\u0159ev\u011bn\u00e9m madle. Jsme sv\u011bdky konfrontace dvou sv\u011bt\u016f, kter\u00e9 jsou ale nesourod\u00e9 jen zd\u00e1nliv\u011b, ony toti\u017e tady vedle n\u00e1s, v n\u00e1s, s n\u00e1mi denn\u011b jsou, spolupod\u00edl\u00ed se na celku na\u0161eho sv\u011bta, zneji\u0161\u0165uj\u00ed n\u00e1m jej, \u010din\u00ed jej nesamoz\u0159ejm\u00fdm, a tedy, paradoxn\u011b, jedin\u011b mo\u017en\u00fdm, re\u00e1ln\u00fdm, skute\u010dn\u00fdm.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
\n <\/a> <\/div>\n<\/div>\n\n\n Jozef Suchoz\u030ca \u2013 Portfolio 3<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 4<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 4<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 5<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 5<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 6<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 6<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 7<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 7<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 8<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 8<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 9<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 9<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Absolvoval v roce 2003 v socha\u0159sk\u00e9m ateli\u00e9ru doc. Juraje Sapary na Fakult\u011b v\u00fdtvarn\u00fdch um\u011bn\u00ed Akademie um\u011bn\u00ed v Bansk\u00e9 Bystrici. V roce 2010 z\u00edskal doktor\u00e1t, od roku 2004 p\u016fsob\u00ed jako asistent na kated\u0159e socha\u0159stv\u00ed zm\u00edn\u011bn\u00e9 instituce.<\/p>\n\n\n\n
Jeho t\u00e9matem nen\u00ed je socha jako takov\u00e1, ale velmi \u010dasto instalace, objekty, intervence do ready made, intermedia a performance. Vizualita b\u00fdv\u00e1 dopln\u011bna zvukem, pohybliv\u00fdm obrazem, p\u0159\u00edtomn\u00fdmi z\u00e1sahy \u017eivl\u016f jako jsou voda nebo ohe\u0148. Prostorem pro tvorbu, krom\u011b ateli\u00e9ru, jsou nej\u010dast\u011bji sympozia, kde vyu\u017e\u00edv\u00e1 mo\u017enosti v \u010dase pracovat se zvolen\u00fdm materi\u00e1lem \u010dasto i v\u011bt\u0161\u00edch rozm\u011br\u016f a, a to je d\u016fle\u017eit\u00e9, v sousedstv\u00ed podobn\u011b sm\u00fd\u0161lej\u00edc\u00edch tv\u016frc\u016f. Do jeho tvorby vstupuje v posledn\u00ed dob\u011b ironick\u00e1 nota, kterou Sucho\u017ea komentuje aktu\u00e1ln\u00ed politick\u00e1 t\u00e9mata, ale nikoliv jen up to date, ale s v\u00fdrazn\u00fdm \u010dasov\u00fdm i emocion\u00e1ln\u00edm p\u0159esahem, do budoucnosti i historie.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Tak nap\u0159\u00edklad jeden z ned\u00e1vn\u00fdch ro\u010dn\u00edk\u016f mezin\u00e1rodn\u00edho sympozia v ma\u010farsk\u00e9m Ceredu m\u011bl sjednocuj\u00edc\u00ed t\u00e9ma Odd\u011blen\u00e9 prostory \/ Separated spaces a pod\u00edleli se na n\u011bm tv\u016frci z po\u0159\u00e1daj\u00edc\u00edho Ma\u010farska, d\u00e1le z Finska, Rumunska, Slovenska a \u010cesk\u00e9 republiky. T\u00e9ma je dostate\u010dn\u011b metaforick\u00e9, ale i konkr\u00e9tn\u00ed, aby se mohlo st\u00e1t prostorem pro vyj\u00e1d\u0159en\u00ed soukrom\u00fdch, intimn\u00edch i spole\u010densk\u00fdch stav\u016f, akc\u00ed \u010di situac\u00ed. Samoz\u0159ejm\u011b by mohlo sv\u00e1d\u011bt k bezprost\u0159edn\u00ed reflexi tehdy vyhrocen\u00e9 situace uprchlick\u00e9 krize. Sucho\u017ea tak u\u010dinil s ironick\u00fdm, a\u017e sarkastick\u00fdm odstupem, mohlo by se zd\u00e1t a\u017e blasfemick\u00fdm, kdy\u017e p\u0159edstavil svou multiplikovanou sochu tradi\u010dn\u00ed evropsk\u00e9 stoj\u00edc\u00ed madony se sepjat\u00fdma rukama, le\u010d s nik\u00e1bem na hlav\u011b.<\/p>\n\n\n\n
To je jedna z lini\u00ed jeho aktu\u00e1ln\u00ed tvorby, kterou d\u00e1le rozv\u00edj\u00ed, kdy\u017e na re\u00e1ln\u00e9, materi\u00e1ln\u00ed \u00farovni kombinuje a spojuje p\u0159edm\u011bty typick\u00e9 pro r\u016fzn\u00e1 sv\u011btov\u00e1 n\u00e1bo\u017eenstv\u00ed. Tak strom \u017eivot, hebrejsky acej chajim, jsou d\u0159ev\u011bn\u00e9 v\u00e1lce s ozdobn\u00fdmi dr\u017eadly, na kter\u00fd je navinuta T\u00f3ra, tedy p\u011bt Knih Moj\u017e\u00ed\u0161ov\u00fdch Star\u00e9ho z\u00e1kona. Sucho\u017ea na n\u011b navine muslimsk\u00fd modlitebn\u00ed koberec\u2026 Tradi\u010dn\u00ed k\u0159es\u0165ansk\u00e9 klek\u00e1tko s podu\u0161kou pod lokty ur\u010den\u00e9 k soukrom\u00e9 intimn\u00ed modlitb\u011b opolstruje \u010dern\u00fdm sametem se zlat\u00fdm arabsk\u00fdm n\u00e1zvem All\u00e1hu Akbar. P\u0159echodem k druh\u00e9, paramilit\u00e1rn\u00ed \u010di pseudomilit\u00e1rn\u00ed tematick\u00e9 linii je so\u0161ka madony v nik\u00e1bu, stoj\u00edc\u00ed na zem\u011bkouli, jakoby v parodick\u00e9m a kontroverzn\u00edm inverzn\u00edm obr\u00e1cen\u00ed sekul\u00e1rn\u00ed ikony, trofeje pro mistry sv\u011bta v kopan\u00e9, kter\u00e1 od roku 1971 nahradila ukradenou Zlatou Nik\u00e9. A vlastn\u011b nestoj\u00ed, ale je horizont\u00e1ln\u011b ulo\u017eena do vojensk\u00e9 d\u0159ev\u011bn\u00e9 bedny v zelen\u00e9 barv\u011b, ur\u010den\u00e9 sp\u00ed\u0161e pro minometn\u00e9 st\u0159ely. To milit\u00e1rn\u00ed t\u00e9ma variuje i na jin\u00fdch sympozi\u00edch, nej\u010dast\u011bji zl\u00ednsk\u00e9m Panta Rhei (vojensk\u00e1 v\u00e1le\u010dn\u00e1 nos\u00edtka, jejich\u017e madla jsou osazena velk\u00fdmi r\u016f\u017eov\u00fdmi trny, jak zde nesly\u0161et ozv\u011bnu Josepha Beyuse\u2026). Na principu kontrastu a ne\u010dekan\u00fdch, provokativn\u00edch, a\u017e \u2013 jak ji\u017e \u0159e\u010deno \u2013 rouhav\u00fdch konfrontac\u00ed stav\u00ed vedle sebe a k sob\u011b sv\u011bty zcela nesourod\u00e9 \u2013 protitankov\u00e1 mina zdoben\u00e1 lidov\u00fdm ornamentem. D\u00e1rkov\u00e1 sada s ru\u010dn\u00ed \u00fato\u010dnou zbran\u00ed, ocelov\u00fdm boxerem nebo podivn\u00e1 zbra\u0148 tvo\u0159en\u00e1 \u017eulovou kostkou na d\u0159ev\u011bn\u00e9m madle. Jsme sv\u011bdky konfrontace dvou sv\u011bt\u016f, kter\u00e9 jsou ale nesourod\u00e9 jen zd\u00e1nliv\u011b, ony toti\u017e tady vedle n\u00e1s, v n\u00e1s, s n\u00e1mi denn\u011b jsou, spolupod\u00edl\u00ed se na celku na\u0161eho sv\u011bta, zneji\u0161\u0165uj\u00ed n\u00e1m jej, \u010din\u00ed jej nesamoz\u0159ejm\u00fdm, a tedy, paradoxn\u011b, jedin\u011b mo\u017en\u00fdm, re\u00e1ln\u00fdm, skute\u010dn\u00fdm.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
Jozef Suchoz\u030ca \u2013 Portfolio 4<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 4<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 5<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 5<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 6<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 6<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 7<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 7<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 8<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 8<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 9<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 9<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Absolvoval v roce 2003 v socha\u0159sk\u00e9m ateli\u00e9ru doc. Juraje Sapary na Fakult\u011b v\u00fdtvarn\u00fdch um\u011bn\u00ed Akademie um\u011bn\u00ed v Bansk\u00e9 Bystrici. V roce 2010 z\u00edskal doktor\u00e1t, od roku 2004 p\u016fsob\u00ed jako asistent na kated\u0159e socha\u0159stv\u00ed zm\u00edn\u011bn\u00e9 instituce.<\/p>\n\n\n\n
Jeho t\u00e9matem nen\u00ed je socha jako takov\u00e1, ale velmi \u010dasto instalace, objekty, intervence do ready made, intermedia a performance. Vizualita b\u00fdv\u00e1 dopln\u011bna zvukem, pohybliv\u00fdm obrazem, p\u0159\u00edtomn\u00fdmi z\u00e1sahy \u017eivl\u016f jako jsou voda nebo ohe\u0148. Prostorem pro tvorbu, krom\u011b ateli\u00e9ru, jsou nej\u010dast\u011bji sympozia, kde vyu\u017e\u00edv\u00e1 mo\u017enosti v \u010dase pracovat se zvolen\u00fdm materi\u00e1lem \u010dasto i v\u011bt\u0161\u00edch rozm\u011br\u016f a, a to je d\u016fle\u017eit\u00e9, v sousedstv\u00ed podobn\u011b sm\u00fd\u0161lej\u00edc\u00edch tv\u016frc\u016f. Do jeho tvorby vstupuje v posledn\u00ed dob\u011b ironick\u00e1 nota, kterou Sucho\u017ea komentuje aktu\u00e1ln\u00ed politick\u00e1 t\u00e9mata, ale nikoliv jen up to date, ale s v\u00fdrazn\u00fdm \u010dasov\u00fdm i emocion\u00e1ln\u00edm p\u0159esahem, do budoucnosti i historie.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Tak nap\u0159\u00edklad jeden z ned\u00e1vn\u00fdch ro\u010dn\u00edk\u016f mezin\u00e1rodn\u00edho sympozia v ma\u010farsk\u00e9m Ceredu m\u011bl sjednocuj\u00edc\u00ed t\u00e9ma Odd\u011blen\u00e9 prostory \/ Separated spaces a pod\u00edleli se na n\u011bm tv\u016frci z po\u0159\u00e1daj\u00edc\u00edho Ma\u010farska, d\u00e1le z Finska, Rumunska, Slovenska a \u010cesk\u00e9 republiky. T\u00e9ma je dostate\u010dn\u011b metaforick\u00e9, ale i konkr\u00e9tn\u00ed, aby se mohlo st\u00e1t prostorem pro vyj\u00e1d\u0159en\u00ed soukrom\u00fdch, intimn\u00edch i spole\u010densk\u00fdch stav\u016f, akc\u00ed \u010di situac\u00ed. Samoz\u0159ejm\u011b by mohlo sv\u00e1d\u011bt k bezprost\u0159edn\u00ed reflexi tehdy vyhrocen\u00e9 situace uprchlick\u00e9 krize. Sucho\u017ea tak u\u010dinil s ironick\u00fdm, a\u017e sarkastick\u00fdm odstupem, mohlo by se zd\u00e1t a\u017e blasfemick\u00fdm, kdy\u017e p\u0159edstavil svou multiplikovanou sochu tradi\u010dn\u00ed evropsk\u00e9 stoj\u00edc\u00ed madony se sepjat\u00fdma rukama, le\u010d s nik\u00e1bem na hlav\u011b.<\/p>\n\n\n\n
To je jedna z lini\u00ed jeho aktu\u00e1ln\u00ed tvorby, kterou d\u00e1le rozv\u00edj\u00ed, kdy\u017e na re\u00e1ln\u00e9, materi\u00e1ln\u00ed \u00farovni kombinuje a spojuje p\u0159edm\u011bty typick\u00e9 pro r\u016fzn\u00e1 sv\u011btov\u00e1 n\u00e1bo\u017eenstv\u00ed. Tak strom \u017eivot, hebrejsky acej chajim, jsou d\u0159ev\u011bn\u00e9 v\u00e1lce s ozdobn\u00fdmi dr\u017eadly, na kter\u00fd je navinuta T\u00f3ra, tedy p\u011bt Knih Moj\u017e\u00ed\u0161ov\u00fdch Star\u00e9ho z\u00e1kona. Sucho\u017ea na n\u011b navine muslimsk\u00fd modlitebn\u00ed koberec\u2026 Tradi\u010dn\u00ed k\u0159es\u0165ansk\u00e9 klek\u00e1tko s podu\u0161kou pod lokty ur\u010den\u00e9 k soukrom\u00e9 intimn\u00ed modlitb\u011b opolstruje \u010dern\u00fdm sametem se zlat\u00fdm arabsk\u00fdm n\u00e1zvem All\u00e1hu Akbar. P\u0159echodem k druh\u00e9, paramilit\u00e1rn\u00ed \u010di pseudomilit\u00e1rn\u00ed tematick\u00e9 linii je so\u0161ka madony v nik\u00e1bu, stoj\u00edc\u00ed na zem\u011bkouli, jakoby v parodick\u00e9m a kontroverzn\u00edm inverzn\u00edm obr\u00e1cen\u00ed sekul\u00e1rn\u00ed ikony, trofeje pro mistry sv\u011bta v kopan\u00e9, kter\u00e1 od roku 1971 nahradila ukradenou Zlatou Nik\u00e9. A vlastn\u011b nestoj\u00ed, ale je horizont\u00e1ln\u011b ulo\u017eena do vojensk\u00e9 d\u0159ev\u011bn\u00e9 bedny v zelen\u00e9 barv\u011b, ur\u010den\u00e9 sp\u00ed\u0161e pro minometn\u00e9 st\u0159ely. To milit\u00e1rn\u00ed t\u00e9ma variuje i na jin\u00fdch sympozi\u00edch, nej\u010dast\u011bji zl\u00ednsk\u00e9m Panta Rhei (vojensk\u00e1 v\u00e1le\u010dn\u00e1 nos\u00edtka, jejich\u017e madla jsou osazena velk\u00fdmi r\u016f\u017eov\u00fdmi trny, jak zde nesly\u0161et ozv\u011bnu Josepha Beyuse\u2026). Na principu kontrastu a ne\u010dekan\u00fdch, provokativn\u00edch, a\u017e \u2013 jak ji\u017e \u0159e\u010deno \u2013 rouhav\u00fdch konfrontac\u00ed stav\u00ed vedle sebe a k sob\u011b sv\u011bty zcela nesourod\u00e9 \u2013 protitankov\u00e1 mina zdoben\u00e1 lidov\u00fdm ornamentem. D\u00e1rkov\u00e1 sada s ru\u010dn\u00ed \u00fato\u010dnou zbran\u00ed, ocelov\u00fdm boxerem nebo podivn\u00e1 zbra\u0148 tvo\u0159en\u00e1 \u017eulovou kostkou na d\u0159ev\u011bn\u00e9m madle. Jsme sv\u011bdky konfrontace dvou sv\u011bt\u016f, kter\u00e9 jsou ale nesourod\u00e9 jen zd\u00e1nliv\u011b, ony toti\u017e tady vedle n\u00e1s, v n\u00e1s, s n\u00e1mi denn\u011b jsou, spolupod\u00edl\u00ed se na celku na\u0161eho sv\u011bta, zneji\u0161\u0165uj\u00ed n\u00e1m jej, \u010din\u00ed jej nesamoz\u0159ejm\u00fdm, a tedy, paradoxn\u011b, jedin\u011b mo\u017en\u00fdm, re\u00e1ln\u00fdm, skute\u010dn\u00fdm.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
\n <\/a> <\/div>\n<\/div>\n\n\n Jozef Suchoz\u030ca \u2013 Portfolio 4<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 5<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 5<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 6<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 6<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 7<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 7<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 8<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 8<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 9<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 9<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Absolvoval v roce 2003 v socha\u0159sk\u00e9m ateli\u00e9ru doc. Juraje Sapary na Fakult\u011b v\u00fdtvarn\u00fdch um\u011bn\u00ed Akademie um\u011bn\u00ed v Bansk\u00e9 Bystrici. V roce 2010 z\u00edskal doktor\u00e1t, od roku 2004 p\u016fsob\u00ed jako asistent na kated\u0159e socha\u0159stv\u00ed zm\u00edn\u011bn\u00e9 instituce.<\/p>\n\n\n\n
Jeho t\u00e9matem nen\u00ed je socha jako takov\u00e1, ale velmi \u010dasto instalace, objekty, intervence do ready made, intermedia a performance. Vizualita b\u00fdv\u00e1 dopln\u011bna zvukem, pohybliv\u00fdm obrazem, p\u0159\u00edtomn\u00fdmi z\u00e1sahy \u017eivl\u016f jako jsou voda nebo ohe\u0148. Prostorem pro tvorbu, krom\u011b ateli\u00e9ru, jsou nej\u010dast\u011bji sympozia, kde vyu\u017e\u00edv\u00e1 mo\u017enosti v \u010dase pracovat se zvolen\u00fdm materi\u00e1lem \u010dasto i v\u011bt\u0161\u00edch rozm\u011br\u016f a, a to je d\u016fle\u017eit\u00e9, v sousedstv\u00ed podobn\u011b sm\u00fd\u0161lej\u00edc\u00edch tv\u016frc\u016f. Do jeho tvorby vstupuje v posledn\u00ed dob\u011b ironick\u00e1 nota, kterou Sucho\u017ea komentuje aktu\u00e1ln\u00ed politick\u00e1 t\u00e9mata, ale nikoliv jen up to date, ale s v\u00fdrazn\u00fdm \u010dasov\u00fdm i emocion\u00e1ln\u00edm p\u0159esahem, do budoucnosti i historie.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Tak nap\u0159\u00edklad jeden z ned\u00e1vn\u00fdch ro\u010dn\u00edk\u016f mezin\u00e1rodn\u00edho sympozia v ma\u010farsk\u00e9m Ceredu m\u011bl sjednocuj\u00edc\u00ed t\u00e9ma Odd\u011blen\u00e9 prostory \/ Separated spaces a pod\u00edleli se na n\u011bm tv\u016frci z po\u0159\u00e1daj\u00edc\u00edho Ma\u010farska, d\u00e1le z Finska, Rumunska, Slovenska a \u010cesk\u00e9 republiky. T\u00e9ma je dostate\u010dn\u011b metaforick\u00e9, ale i konkr\u00e9tn\u00ed, aby se mohlo st\u00e1t prostorem pro vyj\u00e1d\u0159en\u00ed soukrom\u00fdch, intimn\u00edch i spole\u010densk\u00fdch stav\u016f, akc\u00ed \u010di situac\u00ed. Samoz\u0159ejm\u011b by mohlo sv\u00e1d\u011bt k bezprost\u0159edn\u00ed reflexi tehdy vyhrocen\u00e9 situace uprchlick\u00e9 krize. Sucho\u017ea tak u\u010dinil s ironick\u00fdm, a\u017e sarkastick\u00fdm odstupem, mohlo by se zd\u00e1t a\u017e blasfemick\u00fdm, kdy\u017e p\u0159edstavil svou multiplikovanou sochu tradi\u010dn\u00ed evropsk\u00e9 stoj\u00edc\u00ed madony se sepjat\u00fdma rukama, le\u010d s nik\u00e1bem na hlav\u011b.<\/p>\n\n\n\n
To je jedna z lini\u00ed jeho aktu\u00e1ln\u00ed tvorby, kterou d\u00e1le rozv\u00edj\u00ed, kdy\u017e na re\u00e1ln\u00e9, materi\u00e1ln\u00ed \u00farovni kombinuje a spojuje p\u0159edm\u011bty typick\u00e9 pro r\u016fzn\u00e1 sv\u011btov\u00e1 n\u00e1bo\u017eenstv\u00ed. Tak strom \u017eivot, hebrejsky acej chajim, jsou d\u0159ev\u011bn\u00e9 v\u00e1lce s ozdobn\u00fdmi dr\u017eadly, na kter\u00fd je navinuta T\u00f3ra, tedy p\u011bt Knih Moj\u017e\u00ed\u0161ov\u00fdch Star\u00e9ho z\u00e1kona. Sucho\u017ea na n\u011b navine muslimsk\u00fd modlitebn\u00ed koberec\u2026 Tradi\u010dn\u00ed k\u0159es\u0165ansk\u00e9 klek\u00e1tko s podu\u0161kou pod lokty ur\u010den\u00e9 k soukrom\u00e9 intimn\u00ed modlitb\u011b opolstruje \u010dern\u00fdm sametem se zlat\u00fdm arabsk\u00fdm n\u00e1zvem All\u00e1hu Akbar. P\u0159echodem k druh\u00e9, paramilit\u00e1rn\u00ed \u010di pseudomilit\u00e1rn\u00ed tematick\u00e9 linii je so\u0161ka madony v nik\u00e1bu, stoj\u00edc\u00ed na zem\u011bkouli, jakoby v parodick\u00e9m a kontroverzn\u00edm inverzn\u00edm obr\u00e1cen\u00ed sekul\u00e1rn\u00ed ikony, trofeje pro mistry sv\u011bta v kopan\u00e9, kter\u00e1 od roku 1971 nahradila ukradenou Zlatou Nik\u00e9. A vlastn\u011b nestoj\u00ed, ale je horizont\u00e1ln\u011b ulo\u017eena do vojensk\u00e9 d\u0159ev\u011bn\u00e9 bedny v zelen\u00e9 barv\u011b, ur\u010den\u00e9 sp\u00ed\u0161e pro minometn\u00e9 st\u0159ely. To milit\u00e1rn\u00ed t\u00e9ma variuje i na jin\u00fdch sympozi\u00edch, nej\u010dast\u011bji zl\u00ednsk\u00e9m Panta Rhei (vojensk\u00e1 v\u00e1le\u010dn\u00e1 nos\u00edtka, jejich\u017e madla jsou osazena velk\u00fdmi r\u016f\u017eov\u00fdmi trny, jak zde nesly\u0161et ozv\u011bnu Josepha Beyuse\u2026). Na principu kontrastu a ne\u010dekan\u00fdch, provokativn\u00edch, a\u017e \u2013 jak ji\u017e \u0159e\u010deno \u2013 rouhav\u00fdch konfrontac\u00ed stav\u00ed vedle sebe a k sob\u011b sv\u011bty zcela nesourod\u00e9 \u2013 protitankov\u00e1 mina zdoben\u00e1 lidov\u00fdm ornamentem. D\u00e1rkov\u00e1 sada s ru\u010dn\u00ed \u00fato\u010dnou zbran\u00ed, ocelov\u00fdm boxerem nebo podivn\u00e1 zbra\u0148 tvo\u0159en\u00e1 \u017eulovou kostkou na d\u0159ev\u011bn\u00e9m madle. Jsme sv\u011bdky konfrontace dvou sv\u011bt\u016f, kter\u00e9 jsou ale nesourod\u00e9 jen zd\u00e1nliv\u011b, ony toti\u017e tady vedle n\u00e1s, v n\u00e1s, s n\u00e1mi denn\u011b jsou, spolupod\u00edl\u00ed se na celku na\u0161eho sv\u011bta, zneji\u0161\u0165uj\u00ed n\u00e1m jej, \u010din\u00ed jej nesamoz\u0159ejm\u00fdm, a tedy, paradoxn\u011b, jedin\u011b mo\u017en\u00fdm, re\u00e1ln\u00fdm, skute\u010dn\u00fdm.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
Jozef Suchoz\u030ca \u2013 Portfolio 5<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 5<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 6<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 6<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 7<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 7<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 8<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 8<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 9<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 9<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Absolvoval v roce 2003 v socha\u0159sk\u00e9m ateli\u00e9ru doc. Juraje Sapary na Fakult\u011b v\u00fdtvarn\u00fdch um\u011bn\u00ed Akademie um\u011bn\u00ed v Bansk\u00e9 Bystrici. V roce 2010 z\u00edskal doktor\u00e1t, od roku 2004 p\u016fsob\u00ed jako asistent na kated\u0159e socha\u0159stv\u00ed zm\u00edn\u011bn\u00e9 instituce.<\/p>\n\n\n\n
Jeho t\u00e9matem nen\u00ed je socha jako takov\u00e1, ale velmi \u010dasto instalace, objekty, intervence do ready made, intermedia a performance. Vizualita b\u00fdv\u00e1 dopln\u011bna zvukem, pohybliv\u00fdm obrazem, p\u0159\u00edtomn\u00fdmi z\u00e1sahy \u017eivl\u016f jako jsou voda nebo ohe\u0148. Prostorem pro tvorbu, krom\u011b ateli\u00e9ru, jsou nej\u010dast\u011bji sympozia, kde vyu\u017e\u00edv\u00e1 mo\u017enosti v \u010dase pracovat se zvolen\u00fdm materi\u00e1lem \u010dasto i v\u011bt\u0161\u00edch rozm\u011br\u016f a, a to je d\u016fle\u017eit\u00e9, v sousedstv\u00ed podobn\u011b sm\u00fd\u0161lej\u00edc\u00edch tv\u016frc\u016f. Do jeho tvorby vstupuje v posledn\u00ed dob\u011b ironick\u00e1 nota, kterou Sucho\u017ea komentuje aktu\u00e1ln\u00ed politick\u00e1 t\u00e9mata, ale nikoliv jen up to date, ale s v\u00fdrazn\u00fdm \u010dasov\u00fdm i emocion\u00e1ln\u00edm p\u0159esahem, do budoucnosti i historie.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Tak nap\u0159\u00edklad jeden z ned\u00e1vn\u00fdch ro\u010dn\u00edk\u016f mezin\u00e1rodn\u00edho sympozia v ma\u010farsk\u00e9m Ceredu m\u011bl sjednocuj\u00edc\u00ed t\u00e9ma Odd\u011blen\u00e9 prostory \/ Separated spaces a pod\u00edleli se na n\u011bm tv\u016frci z po\u0159\u00e1daj\u00edc\u00edho Ma\u010farska, d\u00e1le z Finska, Rumunska, Slovenska a \u010cesk\u00e9 republiky. T\u00e9ma je dostate\u010dn\u011b metaforick\u00e9, ale i konkr\u00e9tn\u00ed, aby se mohlo st\u00e1t prostorem pro vyj\u00e1d\u0159en\u00ed soukrom\u00fdch, intimn\u00edch i spole\u010densk\u00fdch stav\u016f, akc\u00ed \u010di situac\u00ed. Samoz\u0159ejm\u011b by mohlo sv\u00e1d\u011bt k bezprost\u0159edn\u00ed reflexi tehdy vyhrocen\u00e9 situace uprchlick\u00e9 krize. Sucho\u017ea tak u\u010dinil s ironick\u00fdm, a\u017e sarkastick\u00fdm odstupem, mohlo by se zd\u00e1t a\u017e blasfemick\u00fdm, kdy\u017e p\u0159edstavil svou multiplikovanou sochu tradi\u010dn\u00ed evropsk\u00e9 stoj\u00edc\u00ed madony se sepjat\u00fdma rukama, le\u010d s nik\u00e1bem na hlav\u011b.<\/p>\n\n\n\n
To je jedna z lini\u00ed jeho aktu\u00e1ln\u00ed tvorby, kterou d\u00e1le rozv\u00edj\u00ed, kdy\u017e na re\u00e1ln\u00e9, materi\u00e1ln\u00ed \u00farovni kombinuje a spojuje p\u0159edm\u011bty typick\u00e9 pro r\u016fzn\u00e1 sv\u011btov\u00e1 n\u00e1bo\u017eenstv\u00ed. Tak strom \u017eivot, hebrejsky acej chajim, jsou d\u0159ev\u011bn\u00e9 v\u00e1lce s ozdobn\u00fdmi dr\u017eadly, na kter\u00fd je navinuta T\u00f3ra, tedy p\u011bt Knih Moj\u017e\u00ed\u0161ov\u00fdch Star\u00e9ho z\u00e1kona. Sucho\u017ea na n\u011b navine muslimsk\u00fd modlitebn\u00ed koberec\u2026 Tradi\u010dn\u00ed k\u0159es\u0165ansk\u00e9 klek\u00e1tko s podu\u0161kou pod lokty ur\u010den\u00e9 k soukrom\u00e9 intimn\u00ed modlitb\u011b opolstruje \u010dern\u00fdm sametem se zlat\u00fdm arabsk\u00fdm n\u00e1zvem All\u00e1hu Akbar. P\u0159echodem k druh\u00e9, paramilit\u00e1rn\u00ed \u010di pseudomilit\u00e1rn\u00ed tematick\u00e9 linii je so\u0161ka madony v nik\u00e1bu, stoj\u00edc\u00ed na zem\u011bkouli, jakoby v parodick\u00e9m a kontroverzn\u00edm inverzn\u00edm obr\u00e1cen\u00ed sekul\u00e1rn\u00ed ikony, trofeje pro mistry sv\u011bta v kopan\u00e9, kter\u00e1 od roku 1971 nahradila ukradenou Zlatou Nik\u00e9. A vlastn\u011b nestoj\u00ed, ale je horizont\u00e1ln\u011b ulo\u017eena do vojensk\u00e9 d\u0159ev\u011bn\u00e9 bedny v zelen\u00e9 barv\u011b, ur\u010den\u00e9 sp\u00ed\u0161e pro minometn\u00e9 st\u0159ely. To milit\u00e1rn\u00ed t\u00e9ma variuje i na jin\u00fdch sympozi\u00edch, nej\u010dast\u011bji zl\u00ednsk\u00e9m Panta Rhei (vojensk\u00e1 v\u00e1le\u010dn\u00e1 nos\u00edtka, jejich\u017e madla jsou osazena velk\u00fdmi r\u016f\u017eov\u00fdmi trny, jak zde nesly\u0161et ozv\u011bnu Josepha Beyuse\u2026). Na principu kontrastu a ne\u010dekan\u00fdch, provokativn\u00edch, a\u017e \u2013 jak ji\u017e \u0159e\u010deno \u2013 rouhav\u00fdch konfrontac\u00ed stav\u00ed vedle sebe a k sob\u011b sv\u011bty zcela nesourod\u00e9 \u2013 protitankov\u00e1 mina zdoben\u00e1 lidov\u00fdm ornamentem. D\u00e1rkov\u00e1 sada s ru\u010dn\u00ed \u00fato\u010dnou zbran\u00ed, ocelov\u00fdm boxerem nebo podivn\u00e1 zbra\u0148 tvo\u0159en\u00e1 \u017eulovou kostkou na d\u0159ev\u011bn\u00e9m madle. Jsme sv\u011bdky konfrontace dvou sv\u011bt\u016f, kter\u00e9 jsou ale nesourod\u00e9 jen zd\u00e1nliv\u011b, ony toti\u017e tady vedle n\u00e1s, v n\u00e1s, s n\u00e1mi denn\u011b jsou, spolupod\u00edl\u00ed se na celku na\u0161eho sv\u011bta, zneji\u0161\u0165uj\u00ed n\u00e1m jej, \u010din\u00ed jej nesamoz\u0159ejm\u00fdm, a tedy, paradoxn\u011b, jedin\u011b mo\u017en\u00fdm, re\u00e1ln\u00fdm, skute\u010dn\u00fdm.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
\n <\/a> <\/div>\n<\/div>\n\n\n Jozef Suchoz\u030ca \u2013 Portfolio 5<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 6<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 6<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 7<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 7<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 8<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 8<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 9<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 9<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Absolvoval v roce 2003 v socha\u0159sk\u00e9m ateli\u00e9ru doc. Juraje Sapary na Fakult\u011b v\u00fdtvarn\u00fdch um\u011bn\u00ed Akademie um\u011bn\u00ed v Bansk\u00e9 Bystrici. V roce 2010 z\u00edskal doktor\u00e1t, od roku 2004 p\u016fsob\u00ed jako asistent na kated\u0159e socha\u0159stv\u00ed zm\u00edn\u011bn\u00e9 instituce.<\/p>\n\n\n\n
Jeho t\u00e9matem nen\u00ed je socha jako takov\u00e1, ale velmi \u010dasto instalace, objekty, intervence do ready made, intermedia a performance. Vizualita b\u00fdv\u00e1 dopln\u011bna zvukem, pohybliv\u00fdm obrazem, p\u0159\u00edtomn\u00fdmi z\u00e1sahy \u017eivl\u016f jako jsou voda nebo ohe\u0148. Prostorem pro tvorbu, krom\u011b ateli\u00e9ru, jsou nej\u010dast\u011bji sympozia, kde vyu\u017e\u00edv\u00e1 mo\u017enosti v \u010dase pracovat se zvolen\u00fdm materi\u00e1lem \u010dasto i v\u011bt\u0161\u00edch rozm\u011br\u016f a, a to je d\u016fle\u017eit\u00e9, v sousedstv\u00ed podobn\u011b sm\u00fd\u0161lej\u00edc\u00edch tv\u016frc\u016f. Do jeho tvorby vstupuje v posledn\u00ed dob\u011b ironick\u00e1 nota, kterou Sucho\u017ea komentuje aktu\u00e1ln\u00ed politick\u00e1 t\u00e9mata, ale nikoliv jen up to date, ale s v\u00fdrazn\u00fdm \u010dasov\u00fdm i emocion\u00e1ln\u00edm p\u0159esahem, do budoucnosti i historie.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Tak nap\u0159\u00edklad jeden z ned\u00e1vn\u00fdch ro\u010dn\u00edk\u016f mezin\u00e1rodn\u00edho sympozia v ma\u010farsk\u00e9m Ceredu m\u011bl sjednocuj\u00edc\u00ed t\u00e9ma Odd\u011blen\u00e9 prostory \/ Separated spaces a pod\u00edleli se na n\u011bm tv\u016frci z po\u0159\u00e1daj\u00edc\u00edho Ma\u010farska, d\u00e1le z Finska, Rumunska, Slovenska a \u010cesk\u00e9 republiky. T\u00e9ma je dostate\u010dn\u011b metaforick\u00e9, ale i konkr\u00e9tn\u00ed, aby se mohlo st\u00e1t prostorem pro vyj\u00e1d\u0159en\u00ed soukrom\u00fdch, intimn\u00edch i spole\u010densk\u00fdch stav\u016f, akc\u00ed \u010di situac\u00ed. Samoz\u0159ejm\u011b by mohlo sv\u00e1d\u011bt k bezprost\u0159edn\u00ed reflexi tehdy vyhrocen\u00e9 situace uprchlick\u00e9 krize. Sucho\u017ea tak u\u010dinil s ironick\u00fdm, a\u017e sarkastick\u00fdm odstupem, mohlo by se zd\u00e1t a\u017e blasfemick\u00fdm, kdy\u017e p\u0159edstavil svou multiplikovanou sochu tradi\u010dn\u00ed evropsk\u00e9 stoj\u00edc\u00ed madony se sepjat\u00fdma rukama, le\u010d s nik\u00e1bem na hlav\u011b.<\/p>\n\n\n\n
To je jedna z lini\u00ed jeho aktu\u00e1ln\u00ed tvorby, kterou d\u00e1le rozv\u00edj\u00ed, kdy\u017e na re\u00e1ln\u00e9, materi\u00e1ln\u00ed \u00farovni kombinuje a spojuje p\u0159edm\u011bty typick\u00e9 pro r\u016fzn\u00e1 sv\u011btov\u00e1 n\u00e1bo\u017eenstv\u00ed. Tak strom \u017eivot, hebrejsky acej chajim, jsou d\u0159ev\u011bn\u00e9 v\u00e1lce s ozdobn\u00fdmi dr\u017eadly, na kter\u00fd je navinuta T\u00f3ra, tedy p\u011bt Knih Moj\u017e\u00ed\u0161ov\u00fdch Star\u00e9ho z\u00e1kona. Sucho\u017ea na n\u011b navine muslimsk\u00fd modlitebn\u00ed koberec\u2026 Tradi\u010dn\u00ed k\u0159es\u0165ansk\u00e9 klek\u00e1tko s podu\u0161kou pod lokty ur\u010den\u00e9 k soukrom\u00e9 intimn\u00ed modlitb\u011b opolstruje \u010dern\u00fdm sametem se zlat\u00fdm arabsk\u00fdm n\u00e1zvem All\u00e1hu Akbar. P\u0159echodem k druh\u00e9, paramilit\u00e1rn\u00ed \u010di pseudomilit\u00e1rn\u00ed tematick\u00e9 linii je so\u0161ka madony v nik\u00e1bu, stoj\u00edc\u00ed na zem\u011bkouli, jakoby v parodick\u00e9m a kontroverzn\u00edm inverzn\u00edm obr\u00e1cen\u00ed sekul\u00e1rn\u00ed ikony, trofeje pro mistry sv\u011bta v kopan\u00e9, kter\u00e1 od roku 1971 nahradila ukradenou Zlatou Nik\u00e9. A vlastn\u011b nestoj\u00ed, ale je horizont\u00e1ln\u011b ulo\u017eena do vojensk\u00e9 d\u0159ev\u011bn\u00e9 bedny v zelen\u00e9 barv\u011b, ur\u010den\u00e9 sp\u00ed\u0161e pro minometn\u00e9 st\u0159ely. To milit\u00e1rn\u00ed t\u00e9ma variuje i na jin\u00fdch sympozi\u00edch, nej\u010dast\u011bji zl\u00ednsk\u00e9m Panta Rhei (vojensk\u00e1 v\u00e1le\u010dn\u00e1 nos\u00edtka, jejich\u017e madla jsou osazena velk\u00fdmi r\u016f\u017eov\u00fdmi trny, jak zde nesly\u0161et ozv\u011bnu Josepha Beyuse\u2026). Na principu kontrastu a ne\u010dekan\u00fdch, provokativn\u00edch, a\u017e \u2013 jak ji\u017e \u0159e\u010deno \u2013 rouhav\u00fdch konfrontac\u00ed stav\u00ed vedle sebe a k sob\u011b sv\u011bty zcela nesourod\u00e9 \u2013 protitankov\u00e1 mina zdoben\u00e1 lidov\u00fdm ornamentem. D\u00e1rkov\u00e1 sada s ru\u010dn\u00ed \u00fato\u010dnou zbran\u00ed, ocelov\u00fdm boxerem nebo podivn\u00e1 zbra\u0148 tvo\u0159en\u00e1 \u017eulovou kostkou na d\u0159ev\u011bn\u00e9m madle. Jsme sv\u011bdky konfrontace dvou sv\u011bt\u016f, kter\u00e9 jsou ale nesourod\u00e9 jen zd\u00e1nliv\u011b, ony toti\u017e tady vedle n\u00e1s, v n\u00e1s, s n\u00e1mi denn\u011b jsou, spolupod\u00edl\u00ed se na celku na\u0161eho sv\u011bta, zneji\u0161\u0165uj\u00ed n\u00e1m jej, \u010din\u00ed jej nesamoz\u0159ejm\u00fdm, a tedy, paradoxn\u011b, jedin\u011b mo\u017en\u00fdm, re\u00e1ln\u00fdm, skute\u010dn\u00fdm.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
Jozef Suchoz\u030ca \u2013 Portfolio 6<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 6<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 7<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 7<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 8<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 8<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 9<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 9<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Absolvoval v roce 2003 v socha\u0159sk\u00e9m ateli\u00e9ru doc. Juraje Sapary na Fakult\u011b v\u00fdtvarn\u00fdch um\u011bn\u00ed Akademie um\u011bn\u00ed v Bansk\u00e9 Bystrici. V roce 2010 z\u00edskal doktor\u00e1t, od roku 2004 p\u016fsob\u00ed jako asistent na kated\u0159e socha\u0159stv\u00ed zm\u00edn\u011bn\u00e9 instituce.<\/p>\n\n\n\n
Jeho t\u00e9matem nen\u00ed je socha jako takov\u00e1, ale velmi \u010dasto instalace, objekty, intervence do ready made, intermedia a performance. Vizualita b\u00fdv\u00e1 dopln\u011bna zvukem, pohybliv\u00fdm obrazem, p\u0159\u00edtomn\u00fdmi z\u00e1sahy \u017eivl\u016f jako jsou voda nebo ohe\u0148. Prostorem pro tvorbu, krom\u011b ateli\u00e9ru, jsou nej\u010dast\u011bji sympozia, kde vyu\u017e\u00edv\u00e1 mo\u017enosti v \u010dase pracovat se zvolen\u00fdm materi\u00e1lem \u010dasto i v\u011bt\u0161\u00edch rozm\u011br\u016f a, a to je d\u016fle\u017eit\u00e9, v sousedstv\u00ed podobn\u011b sm\u00fd\u0161lej\u00edc\u00edch tv\u016frc\u016f. Do jeho tvorby vstupuje v posledn\u00ed dob\u011b ironick\u00e1 nota, kterou Sucho\u017ea komentuje aktu\u00e1ln\u00ed politick\u00e1 t\u00e9mata, ale nikoliv jen up to date, ale s v\u00fdrazn\u00fdm \u010dasov\u00fdm i emocion\u00e1ln\u00edm p\u0159esahem, do budoucnosti i historie.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Tak nap\u0159\u00edklad jeden z ned\u00e1vn\u00fdch ro\u010dn\u00edk\u016f mezin\u00e1rodn\u00edho sympozia v ma\u010farsk\u00e9m Ceredu m\u011bl sjednocuj\u00edc\u00ed t\u00e9ma Odd\u011blen\u00e9 prostory \/ Separated spaces a pod\u00edleli se na n\u011bm tv\u016frci z po\u0159\u00e1daj\u00edc\u00edho Ma\u010farska, d\u00e1le z Finska, Rumunska, Slovenska a \u010cesk\u00e9 republiky. T\u00e9ma je dostate\u010dn\u011b metaforick\u00e9, ale i konkr\u00e9tn\u00ed, aby se mohlo st\u00e1t prostorem pro vyj\u00e1d\u0159en\u00ed soukrom\u00fdch, intimn\u00edch i spole\u010densk\u00fdch stav\u016f, akc\u00ed \u010di situac\u00ed. Samoz\u0159ejm\u011b by mohlo sv\u00e1d\u011bt k bezprost\u0159edn\u00ed reflexi tehdy vyhrocen\u00e9 situace uprchlick\u00e9 krize. Sucho\u017ea tak u\u010dinil s ironick\u00fdm, a\u017e sarkastick\u00fdm odstupem, mohlo by se zd\u00e1t a\u017e blasfemick\u00fdm, kdy\u017e p\u0159edstavil svou multiplikovanou sochu tradi\u010dn\u00ed evropsk\u00e9 stoj\u00edc\u00ed madony se sepjat\u00fdma rukama, le\u010d s nik\u00e1bem na hlav\u011b.<\/p>\n\n\n\n
To je jedna z lini\u00ed jeho aktu\u00e1ln\u00ed tvorby, kterou d\u00e1le rozv\u00edj\u00ed, kdy\u017e na re\u00e1ln\u00e9, materi\u00e1ln\u00ed \u00farovni kombinuje a spojuje p\u0159edm\u011bty typick\u00e9 pro r\u016fzn\u00e1 sv\u011btov\u00e1 n\u00e1bo\u017eenstv\u00ed. Tak strom \u017eivot, hebrejsky acej chajim, jsou d\u0159ev\u011bn\u00e9 v\u00e1lce s ozdobn\u00fdmi dr\u017eadly, na kter\u00fd je navinuta T\u00f3ra, tedy p\u011bt Knih Moj\u017e\u00ed\u0161ov\u00fdch Star\u00e9ho z\u00e1kona. Sucho\u017ea na n\u011b navine muslimsk\u00fd modlitebn\u00ed koberec\u2026 Tradi\u010dn\u00ed k\u0159es\u0165ansk\u00e9 klek\u00e1tko s podu\u0161kou pod lokty ur\u010den\u00e9 k soukrom\u00e9 intimn\u00ed modlitb\u011b opolstruje \u010dern\u00fdm sametem se zlat\u00fdm arabsk\u00fdm n\u00e1zvem All\u00e1hu Akbar. P\u0159echodem k druh\u00e9, paramilit\u00e1rn\u00ed \u010di pseudomilit\u00e1rn\u00ed tematick\u00e9 linii je so\u0161ka madony v nik\u00e1bu, stoj\u00edc\u00ed na zem\u011bkouli, jakoby v parodick\u00e9m a kontroverzn\u00edm inverzn\u00edm obr\u00e1cen\u00ed sekul\u00e1rn\u00ed ikony, trofeje pro mistry sv\u011bta v kopan\u00e9, kter\u00e1 od roku 1971 nahradila ukradenou Zlatou Nik\u00e9. A vlastn\u011b nestoj\u00ed, ale je horizont\u00e1ln\u011b ulo\u017eena do vojensk\u00e9 d\u0159ev\u011bn\u00e9 bedny v zelen\u00e9 barv\u011b, ur\u010den\u00e9 sp\u00ed\u0161e pro minometn\u00e9 st\u0159ely. To milit\u00e1rn\u00ed t\u00e9ma variuje i na jin\u00fdch sympozi\u00edch, nej\u010dast\u011bji zl\u00ednsk\u00e9m Panta Rhei (vojensk\u00e1 v\u00e1le\u010dn\u00e1 nos\u00edtka, jejich\u017e madla jsou osazena velk\u00fdmi r\u016f\u017eov\u00fdmi trny, jak zde nesly\u0161et ozv\u011bnu Josepha Beyuse\u2026). Na principu kontrastu a ne\u010dekan\u00fdch, provokativn\u00edch, a\u017e \u2013 jak ji\u017e \u0159e\u010deno \u2013 rouhav\u00fdch konfrontac\u00ed stav\u00ed vedle sebe a k sob\u011b sv\u011bty zcela nesourod\u00e9 \u2013 protitankov\u00e1 mina zdoben\u00e1 lidov\u00fdm ornamentem. D\u00e1rkov\u00e1 sada s ru\u010dn\u00ed \u00fato\u010dnou zbran\u00ed, ocelov\u00fdm boxerem nebo podivn\u00e1 zbra\u0148 tvo\u0159en\u00e1 \u017eulovou kostkou na d\u0159ev\u011bn\u00e9m madle. Jsme sv\u011bdky konfrontace dvou sv\u011bt\u016f, kter\u00e9 jsou ale nesourod\u00e9 jen zd\u00e1nliv\u011b, ony toti\u017e tady vedle n\u00e1s, v n\u00e1s, s n\u00e1mi denn\u011b jsou, spolupod\u00edl\u00ed se na celku na\u0161eho sv\u011bta, zneji\u0161\u0165uj\u00ed n\u00e1m jej, \u010din\u00ed jej nesamoz\u0159ejm\u00fdm, a tedy, paradoxn\u011b, jedin\u011b mo\u017en\u00fdm, re\u00e1ln\u00fdm, skute\u010dn\u00fdm.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
\n <\/a> <\/div>\n<\/div>\n\n\n Jozef Suchoz\u030ca \u2013 Portfolio 6<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 7<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 7<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 8<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 8<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 9<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 9<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Absolvoval v roce 2003 v socha\u0159sk\u00e9m ateli\u00e9ru doc. Juraje Sapary na Fakult\u011b v\u00fdtvarn\u00fdch um\u011bn\u00ed Akademie um\u011bn\u00ed v Bansk\u00e9 Bystrici. V roce 2010 z\u00edskal doktor\u00e1t, od roku 2004 p\u016fsob\u00ed jako asistent na kated\u0159e socha\u0159stv\u00ed zm\u00edn\u011bn\u00e9 instituce.<\/p>\n\n\n\n
Jeho t\u00e9matem nen\u00ed je socha jako takov\u00e1, ale velmi \u010dasto instalace, objekty, intervence do ready made, intermedia a performance. Vizualita b\u00fdv\u00e1 dopln\u011bna zvukem, pohybliv\u00fdm obrazem, p\u0159\u00edtomn\u00fdmi z\u00e1sahy \u017eivl\u016f jako jsou voda nebo ohe\u0148. Prostorem pro tvorbu, krom\u011b ateli\u00e9ru, jsou nej\u010dast\u011bji sympozia, kde vyu\u017e\u00edv\u00e1 mo\u017enosti v \u010dase pracovat se zvolen\u00fdm materi\u00e1lem \u010dasto i v\u011bt\u0161\u00edch rozm\u011br\u016f a, a to je d\u016fle\u017eit\u00e9, v sousedstv\u00ed podobn\u011b sm\u00fd\u0161lej\u00edc\u00edch tv\u016frc\u016f. Do jeho tvorby vstupuje v posledn\u00ed dob\u011b ironick\u00e1 nota, kterou Sucho\u017ea komentuje aktu\u00e1ln\u00ed politick\u00e1 t\u00e9mata, ale nikoliv jen up to date, ale s v\u00fdrazn\u00fdm \u010dasov\u00fdm i emocion\u00e1ln\u00edm p\u0159esahem, do budoucnosti i historie.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Tak nap\u0159\u00edklad jeden z ned\u00e1vn\u00fdch ro\u010dn\u00edk\u016f mezin\u00e1rodn\u00edho sympozia v ma\u010farsk\u00e9m Ceredu m\u011bl sjednocuj\u00edc\u00ed t\u00e9ma Odd\u011blen\u00e9 prostory \/ Separated spaces a pod\u00edleli se na n\u011bm tv\u016frci z po\u0159\u00e1daj\u00edc\u00edho Ma\u010farska, d\u00e1le z Finska, Rumunska, Slovenska a \u010cesk\u00e9 republiky. T\u00e9ma je dostate\u010dn\u011b metaforick\u00e9, ale i konkr\u00e9tn\u00ed, aby se mohlo st\u00e1t prostorem pro vyj\u00e1d\u0159en\u00ed soukrom\u00fdch, intimn\u00edch i spole\u010densk\u00fdch stav\u016f, akc\u00ed \u010di situac\u00ed. Samoz\u0159ejm\u011b by mohlo sv\u00e1d\u011bt k bezprost\u0159edn\u00ed reflexi tehdy vyhrocen\u00e9 situace uprchlick\u00e9 krize. Sucho\u017ea tak u\u010dinil s ironick\u00fdm, a\u017e sarkastick\u00fdm odstupem, mohlo by se zd\u00e1t a\u017e blasfemick\u00fdm, kdy\u017e p\u0159edstavil svou multiplikovanou sochu tradi\u010dn\u00ed evropsk\u00e9 stoj\u00edc\u00ed madony se sepjat\u00fdma rukama, le\u010d s nik\u00e1bem na hlav\u011b.<\/p>\n\n\n\n
To je jedna z lini\u00ed jeho aktu\u00e1ln\u00ed tvorby, kterou d\u00e1le rozv\u00edj\u00ed, kdy\u017e na re\u00e1ln\u00e9, materi\u00e1ln\u00ed \u00farovni kombinuje a spojuje p\u0159edm\u011bty typick\u00e9 pro r\u016fzn\u00e1 sv\u011btov\u00e1 n\u00e1bo\u017eenstv\u00ed. Tak strom \u017eivot, hebrejsky acej chajim, jsou d\u0159ev\u011bn\u00e9 v\u00e1lce s ozdobn\u00fdmi dr\u017eadly, na kter\u00fd je navinuta T\u00f3ra, tedy p\u011bt Knih Moj\u017e\u00ed\u0161ov\u00fdch Star\u00e9ho z\u00e1kona. Sucho\u017ea na n\u011b navine muslimsk\u00fd modlitebn\u00ed koberec\u2026 Tradi\u010dn\u00ed k\u0159es\u0165ansk\u00e9 klek\u00e1tko s podu\u0161kou pod lokty ur\u010den\u00e9 k soukrom\u00e9 intimn\u00ed modlitb\u011b opolstruje \u010dern\u00fdm sametem se zlat\u00fdm arabsk\u00fdm n\u00e1zvem All\u00e1hu Akbar. P\u0159echodem k druh\u00e9, paramilit\u00e1rn\u00ed \u010di pseudomilit\u00e1rn\u00ed tematick\u00e9 linii je so\u0161ka madony v nik\u00e1bu, stoj\u00edc\u00ed na zem\u011bkouli, jakoby v parodick\u00e9m a kontroverzn\u00edm inverzn\u00edm obr\u00e1cen\u00ed sekul\u00e1rn\u00ed ikony, trofeje pro mistry sv\u011bta v kopan\u00e9, kter\u00e1 od roku 1971 nahradila ukradenou Zlatou Nik\u00e9. A vlastn\u011b nestoj\u00ed, ale je horizont\u00e1ln\u011b ulo\u017eena do vojensk\u00e9 d\u0159ev\u011bn\u00e9 bedny v zelen\u00e9 barv\u011b, ur\u010den\u00e9 sp\u00ed\u0161e pro minometn\u00e9 st\u0159ely. To milit\u00e1rn\u00ed t\u00e9ma variuje i na jin\u00fdch sympozi\u00edch, nej\u010dast\u011bji zl\u00ednsk\u00e9m Panta Rhei (vojensk\u00e1 v\u00e1le\u010dn\u00e1 nos\u00edtka, jejich\u017e madla jsou osazena velk\u00fdmi r\u016f\u017eov\u00fdmi trny, jak zde nesly\u0161et ozv\u011bnu Josepha Beyuse\u2026). Na principu kontrastu a ne\u010dekan\u00fdch, provokativn\u00edch, a\u017e \u2013 jak ji\u017e \u0159e\u010deno \u2013 rouhav\u00fdch konfrontac\u00ed stav\u00ed vedle sebe a k sob\u011b sv\u011bty zcela nesourod\u00e9 \u2013 protitankov\u00e1 mina zdoben\u00e1 lidov\u00fdm ornamentem. D\u00e1rkov\u00e1 sada s ru\u010dn\u00ed \u00fato\u010dnou zbran\u00ed, ocelov\u00fdm boxerem nebo podivn\u00e1 zbra\u0148 tvo\u0159en\u00e1 \u017eulovou kostkou na d\u0159ev\u011bn\u00e9m madle. Jsme sv\u011bdky konfrontace dvou sv\u011bt\u016f, kter\u00e9 jsou ale nesourod\u00e9 jen zd\u00e1nliv\u011b, ony toti\u017e tady vedle n\u00e1s, v n\u00e1s, s n\u00e1mi denn\u011b jsou, spolupod\u00edl\u00ed se na celku na\u0161eho sv\u011bta, zneji\u0161\u0165uj\u00ed n\u00e1m jej, \u010din\u00ed jej nesamoz\u0159ejm\u00fdm, a tedy, paradoxn\u011b, jedin\u011b mo\u017en\u00fdm, re\u00e1ln\u00fdm, skute\u010dn\u00fdm.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
Jozef Suchoz\u030ca \u2013 Portfolio 7<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 7<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 8<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 8<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 9<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 9<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Absolvoval v roce 2003 v socha\u0159sk\u00e9m ateli\u00e9ru doc. Juraje Sapary na Fakult\u011b v\u00fdtvarn\u00fdch um\u011bn\u00ed Akademie um\u011bn\u00ed v Bansk\u00e9 Bystrici. V roce 2010 z\u00edskal doktor\u00e1t, od roku 2004 p\u016fsob\u00ed jako asistent na kated\u0159e socha\u0159stv\u00ed zm\u00edn\u011bn\u00e9 instituce.<\/p>\n\n\n\n
Jeho t\u00e9matem nen\u00ed je socha jako takov\u00e1, ale velmi \u010dasto instalace, objekty, intervence do ready made, intermedia a performance. Vizualita b\u00fdv\u00e1 dopln\u011bna zvukem, pohybliv\u00fdm obrazem, p\u0159\u00edtomn\u00fdmi z\u00e1sahy \u017eivl\u016f jako jsou voda nebo ohe\u0148. Prostorem pro tvorbu, krom\u011b ateli\u00e9ru, jsou nej\u010dast\u011bji sympozia, kde vyu\u017e\u00edv\u00e1 mo\u017enosti v \u010dase pracovat se zvolen\u00fdm materi\u00e1lem \u010dasto i v\u011bt\u0161\u00edch rozm\u011br\u016f a, a to je d\u016fle\u017eit\u00e9, v sousedstv\u00ed podobn\u011b sm\u00fd\u0161lej\u00edc\u00edch tv\u016frc\u016f. Do jeho tvorby vstupuje v posledn\u00ed dob\u011b ironick\u00e1 nota, kterou Sucho\u017ea komentuje aktu\u00e1ln\u00ed politick\u00e1 t\u00e9mata, ale nikoliv jen up to date, ale s v\u00fdrazn\u00fdm \u010dasov\u00fdm i emocion\u00e1ln\u00edm p\u0159esahem, do budoucnosti i historie.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Tak nap\u0159\u00edklad jeden z ned\u00e1vn\u00fdch ro\u010dn\u00edk\u016f mezin\u00e1rodn\u00edho sympozia v ma\u010farsk\u00e9m Ceredu m\u011bl sjednocuj\u00edc\u00ed t\u00e9ma Odd\u011blen\u00e9 prostory \/ Separated spaces a pod\u00edleli se na n\u011bm tv\u016frci z po\u0159\u00e1daj\u00edc\u00edho Ma\u010farska, d\u00e1le z Finska, Rumunska, Slovenska a \u010cesk\u00e9 republiky. T\u00e9ma je dostate\u010dn\u011b metaforick\u00e9, ale i konkr\u00e9tn\u00ed, aby se mohlo st\u00e1t prostorem pro vyj\u00e1d\u0159en\u00ed soukrom\u00fdch, intimn\u00edch i spole\u010densk\u00fdch stav\u016f, akc\u00ed \u010di situac\u00ed. Samoz\u0159ejm\u011b by mohlo sv\u00e1d\u011bt k bezprost\u0159edn\u00ed reflexi tehdy vyhrocen\u00e9 situace uprchlick\u00e9 krize. Sucho\u017ea tak u\u010dinil s ironick\u00fdm, a\u017e sarkastick\u00fdm odstupem, mohlo by se zd\u00e1t a\u017e blasfemick\u00fdm, kdy\u017e p\u0159edstavil svou multiplikovanou sochu tradi\u010dn\u00ed evropsk\u00e9 stoj\u00edc\u00ed madony se sepjat\u00fdma rukama, le\u010d s nik\u00e1bem na hlav\u011b.<\/p>\n\n\n\n
To je jedna z lini\u00ed jeho aktu\u00e1ln\u00ed tvorby, kterou d\u00e1le rozv\u00edj\u00ed, kdy\u017e na re\u00e1ln\u00e9, materi\u00e1ln\u00ed \u00farovni kombinuje a spojuje p\u0159edm\u011bty typick\u00e9 pro r\u016fzn\u00e1 sv\u011btov\u00e1 n\u00e1bo\u017eenstv\u00ed. Tak strom \u017eivot, hebrejsky acej chajim, jsou d\u0159ev\u011bn\u00e9 v\u00e1lce s ozdobn\u00fdmi dr\u017eadly, na kter\u00fd je navinuta T\u00f3ra, tedy p\u011bt Knih Moj\u017e\u00ed\u0161ov\u00fdch Star\u00e9ho z\u00e1kona. Sucho\u017ea na n\u011b navine muslimsk\u00fd modlitebn\u00ed koberec\u2026 Tradi\u010dn\u00ed k\u0159es\u0165ansk\u00e9 klek\u00e1tko s podu\u0161kou pod lokty ur\u010den\u00e9 k soukrom\u00e9 intimn\u00ed modlitb\u011b opolstruje \u010dern\u00fdm sametem se zlat\u00fdm arabsk\u00fdm n\u00e1zvem All\u00e1hu Akbar. P\u0159echodem k druh\u00e9, paramilit\u00e1rn\u00ed \u010di pseudomilit\u00e1rn\u00ed tematick\u00e9 linii je so\u0161ka madony v nik\u00e1bu, stoj\u00edc\u00ed na zem\u011bkouli, jakoby v parodick\u00e9m a kontroverzn\u00edm inverzn\u00edm obr\u00e1cen\u00ed sekul\u00e1rn\u00ed ikony, trofeje pro mistry sv\u011bta v kopan\u00e9, kter\u00e1 od roku 1971 nahradila ukradenou Zlatou Nik\u00e9. A vlastn\u011b nestoj\u00ed, ale je horizont\u00e1ln\u011b ulo\u017eena do vojensk\u00e9 d\u0159ev\u011bn\u00e9 bedny v zelen\u00e9 barv\u011b, ur\u010den\u00e9 sp\u00ed\u0161e pro minometn\u00e9 st\u0159ely. To milit\u00e1rn\u00ed t\u00e9ma variuje i na jin\u00fdch sympozi\u00edch, nej\u010dast\u011bji zl\u00ednsk\u00e9m Panta Rhei (vojensk\u00e1 v\u00e1le\u010dn\u00e1 nos\u00edtka, jejich\u017e madla jsou osazena velk\u00fdmi r\u016f\u017eov\u00fdmi trny, jak zde nesly\u0161et ozv\u011bnu Josepha Beyuse\u2026). Na principu kontrastu a ne\u010dekan\u00fdch, provokativn\u00edch, a\u017e \u2013 jak ji\u017e \u0159e\u010deno \u2013 rouhav\u00fdch konfrontac\u00ed stav\u00ed vedle sebe a k sob\u011b sv\u011bty zcela nesourod\u00e9 \u2013 protitankov\u00e1 mina zdoben\u00e1 lidov\u00fdm ornamentem. D\u00e1rkov\u00e1 sada s ru\u010dn\u00ed \u00fato\u010dnou zbran\u00ed, ocelov\u00fdm boxerem nebo podivn\u00e1 zbra\u0148 tvo\u0159en\u00e1 \u017eulovou kostkou na d\u0159ev\u011bn\u00e9m madle. Jsme sv\u011bdky konfrontace dvou sv\u011bt\u016f, kter\u00e9 jsou ale nesourod\u00e9 jen zd\u00e1nliv\u011b, ony toti\u017e tady vedle n\u00e1s, v n\u00e1s, s n\u00e1mi denn\u011b jsou, spolupod\u00edl\u00ed se na celku na\u0161eho sv\u011bta, zneji\u0161\u0165uj\u00ed n\u00e1m jej, \u010din\u00ed jej nesamoz\u0159ejm\u00fdm, a tedy, paradoxn\u011b, jedin\u011b mo\u017en\u00fdm, re\u00e1ln\u00fdm, skute\u010dn\u00fdm.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
\n <\/a> <\/div>\n<\/div>\n\n\n Jozef Suchoz\u030ca \u2013 Portfolio 7<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 8<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 8<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 9<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 9<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Absolvoval v roce 2003 v socha\u0159sk\u00e9m ateli\u00e9ru doc. Juraje Sapary na Fakult\u011b v\u00fdtvarn\u00fdch um\u011bn\u00ed Akademie um\u011bn\u00ed v Bansk\u00e9 Bystrici. V roce 2010 z\u00edskal doktor\u00e1t, od roku 2004 p\u016fsob\u00ed jako asistent na kated\u0159e socha\u0159stv\u00ed zm\u00edn\u011bn\u00e9 instituce.<\/p>\n\n\n\n
Jeho t\u00e9matem nen\u00ed je socha jako takov\u00e1, ale velmi \u010dasto instalace, objekty, intervence do ready made, intermedia a performance. Vizualita b\u00fdv\u00e1 dopln\u011bna zvukem, pohybliv\u00fdm obrazem, p\u0159\u00edtomn\u00fdmi z\u00e1sahy \u017eivl\u016f jako jsou voda nebo ohe\u0148. Prostorem pro tvorbu, krom\u011b ateli\u00e9ru, jsou nej\u010dast\u011bji sympozia, kde vyu\u017e\u00edv\u00e1 mo\u017enosti v \u010dase pracovat se zvolen\u00fdm materi\u00e1lem \u010dasto i v\u011bt\u0161\u00edch rozm\u011br\u016f a, a to je d\u016fle\u017eit\u00e9, v sousedstv\u00ed podobn\u011b sm\u00fd\u0161lej\u00edc\u00edch tv\u016frc\u016f. Do jeho tvorby vstupuje v posledn\u00ed dob\u011b ironick\u00e1 nota, kterou Sucho\u017ea komentuje aktu\u00e1ln\u00ed politick\u00e1 t\u00e9mata, ale nikoliv jen up to date, ale s v\u00fdrazn\u00fdm \u010dasov\u00fdm i emocion\u00e1ln\u00edm p\u0159esahem, do budoucnosti i historie.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Tak nap\u0159\u00edklad jeden z ned\u00e1vn\u00fdch ro\u010dn\u00edk\u016f mezin\u00e1rodn\u00edho sympozia v ma\u010farsk\u00e9m Ceredu m\u011bl sjednocuj\u00edc\u00ed t\u00e9ma Odd\u011blen\u00e9 prostory \/ Separated spaces a pod\u00edleli se na n\u011bm tv\u016frci z po\u0159\u00e1daj\u00edc\u00edho Ma\u010farska, d\u00e1le z Finska, Rumunska, Slovenska a \u010cesk\u00e9 republiky. T\u00e9ma je dostate\u010dn\u011b metaforick\u00e9, ale i konkr\u00e9tn\u00ed, aby se mohlo st\u00e1t prostorem pro vyj\u00e1d\u0159en\u00ed soukrom\u00fdch, intimn\u00edch i spole\u010densk\u00fdch stav\u016f, akc\u00ed \u010di situac\u00ed. Samoz\u0159ejm\u011b by mohlo sv\u00e1d\u011bt k bezprost\u0159edn\u00ed reflexi tehdy vyhrocen\u00e9 situace uprchlick\u00e9 krize. Sucho\u017ea tak u\u010dinil s ironick\u00fdm, a\u017e sarkastick\u00fdm odstupem, mohlo by se zd\u00e1t a\u017e blasfemick\u00fdm, kdy\u017e p\u0159edstavil svou multiplikovanou sochu tradi\u010dn\u00ed evropsk\u00e9 stoj\u00edc\u00ed madony se sepjat\u00fdma rukama, le\u010d s nik\u00e1bem na hlav\u011b.<\/p>\n\n\n\n
To je jedna z lini\u00ed jeho aktu\u00e1ln\u00ed tvorby, kterou d\u00e1le rozv\u00edj\u00ed, kdy\u017e na re\u00e1ln\u00e9, materi\u00e1ln\u00ed \u00farovni kombinuje a spojuje p\u0159edm\u011bty typick\u00e9 pro r\u016fzn\u00e1 sv\u011btov\u00e1 n\u00e1bo\u017eenstv\u00ed. Tak strom \u017eivot, hebrejsky acej chajim, jsou d\u0159ev\u011bn\u00e9 v\u00e1lce s ozdobn\u00fdmi dr\u017eadly, na kter\u00fd je navinuta T\u00f3ra, tedy p\u011bt Knih Moj\u017e\u00ed\u0161ov\u00fdch Star\u00e9ho z\u00e1kona. Sucho\u017ea na n\u011b navine muslimsk\u00fd modlitebn\u00ed koberec\u2026 Tradi\u010dn\u00ed k\u0159es\u0165ansk\u00e9 klek\u00e1tko s podu\u0161kou pod lokty ur\u010den\u00e9 k soukrom\u00e9 intimn\u00ed modlitb\u011b opolstruje \u010dern\u00fdm sametem se zlat\u00fdm arabsk\u00fdm n\u00e1zvem All\u00e1hu Akbar. P\u0159echodem k druh\u00e9, paramilit\u00e1rn\u00ed \u010di pseudomilit\u00e1rn\u00ed tematick\u00e9 linii je so\u0161ka madony v nik\u00e1bu, stoj\u00edc\u00ed na zem\u011bkouli, jakoby v parodick\u00e9m a kontroverzn\u00edm inverzn\u00edm obr\u00e1cen\u00ed sekul\u00e1rn\u00ed ikony, trofeje pro mistry sv\u011bta v kopan\u00e9, kter\u00e1 od roku 1971 nahradila ukradenou Zlatou Nik\u00e9. A vlastn\u011b nestoj\u00ed, ale je horizont\u00e1ln\u011b ulo\u017eena do vojensk\u00e9 d\u0159ev\u011bn\u00e9 bedny v zelen\u00e9 barv\u011b, ur\u010den\u00e9 sp\u00ed\u0161e pro minometn\u00e9 st\u0159ely. To milit\u00e1rn\u00ed t\u00e9ma variuje i na jin\u00fdch sympozi\u00edch, nej\u010dast\u011bji zl\u00ednsk\u00e9m Panta Rhei (vojensk\u00e1 v\u00e1le\u010dn\u00e1 nos\u00edtka, jejich\u017e madla jsou osazena velk\u00fdmi r\u016f\u017eov\u00fdmi trny, jak zde nesly\u0161et ozv\u011bnu Josepha Beyuse\u2026). Na principu kontrastu a ne\u010dekan\u00fdch, provokativn\u00edch, a\u017e \u2013 jak ji\u017e \u0159e\u010deno \u2013 rouhav\u00fdch konfrontac\u00ed stav\u00ed vedle sebe a k sob\u011b sv\u011bty zcela nesourod\u00e9 \u2013 protitankov\u00e1 mina zdoben\u00e1 lidov\u00fdm ornamentem. D\u00e1rkov\u00e1 sada s ru\u010dn\u00ed \u00fato\u010dnou zbran\u00ed, ocelov\u00fdm boxerem nebo podivn\u00e1 zbra\u0148 tvo\u0159en\u00e1 \u017eulovou kostkou na d\u0159ev\u011bn\u00e9m madle. Jsme sv\u011bdky konfrontace dvou sv\u011bt\u016f, kter\u00e9 jsou ale nesourod\u00e9 jen zd\u00e1nliv\u011b, ony toti\u017e tady vedle n\u00e1s, v n\u00e1s, s n\u00e1mi denn\u011b jsou, spolupod\u00edl\u00ed se na celku na\u0161eho sv\u011bta, zneji\u0161\u0165uj\u00ed n\u00e1m jej, \u010din\u00ed jej nesamoz\u0159ejm\u00fdm, a tedy, paradoxn\u011b, jedin\u011b mo\u017en\u00fdm, re\u00e1ln\u00fdm, skute\u010dn\u00fdm.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
Jozef Suchoz\u030ca \u2013 Portfolio 8<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 8<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 9<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 9<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Absolvoval v roce 2003 v socha\u0159sk\u00e9m ateli\u00e9ru doc. Juraje Sapary na Fakult\u011b v\u00fdtvarn\u00fdch um\u011bn\u00ed Akademie um\u011bn\u00ed v Bansk\u00e9 Bystrici. V roce 2010 z\u00edskal doktor\u00e1t, od roku 2004 p\u016fsob\u00ed jako asistent na kated\u0159e socha\u0159stv\u00ed zm\u00edn\u011bn\u00e9 instituce.<\/p>\n\n\n\n
Jeho t\u00e9matem nen\u00ed je socha jako takov\u00e1, ale velmi \u010dasto instalace, objekty, intervence do ready made, intermedia a performance. Vizualita b\u00fdv\u00e1 dopln\u011bna zvukem, pohybliv\u00fdm obrazem, p\u0159\u00edtomn\u00fdmi z\u00e1sahy \u017eivl\u016f jako jsou voda nebo ohe\u0148. Prostorem pro tvorbu, krom\u011b ateli\u00e9ru, jsou nej\u010dast\u011bji sympozia, kde vyu\u017e\u00edv\u00e1 mo\u017enosti v \u010dase pracovat se zvolen\u00fdm materi\u00e1lem \u010dasto i v\u011bt\u0161\u00edch rozm\u011br\u016f a, a to je d\u016fle\u017eit\u00e9, v sousedstv\u00ed podobn\u011b sm\u00fd\u0161lej\u00edc\u00edch tv\u016frc\u016f. Do jeho tvorby vstupuje v posledn\u00ed dob\u011b ironick\u00e1 nota, kterou Sucho\u017ea komentuje aktu\u00e1ln\u00ed politick\u00e1 t\u00e9mata, ale nikoliv jen up to date, ale s v\u00fdrazn\u00fdm \u010dasov\u00fdm i emocion\u00e1ln\u00edm p\u0159esahem, do budoucnosti i historie.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Tak nap\u0159\u00edklad jeden z ned\u00e1vn\u00fdch ro\u010dn\u00edk\u016f mezin\u00e1rodn\u00edho sympozia v ma\u010farsk\u00e9m Ceredu m\u011bl sjednocuj\u00edc\u00ed t\u00e9ma Odd\u011blen\u00e9 prostory \/ Separated spaces a pod\u00edleli se na n\u011bm tv\u016frci z po\u0159\u00e1daj\u00edc\u00edho Ma\u010farska, d\u00e1le z Finska, Rumunska, Slovenska a \u010cesk\u00e9 republiky. T\u00e9ma je dostate\u010dn\u011b metaforick\u00e9, ale i konkr\u00e9tn\u00ed, aby se mohlo st\u00e1t prostorem pro vyj\u00e1d\u0159en\u00ed soukrom\u00fdch, intimn\u00edch i spole\u010densk\u00fdch stav\u016f, akc\u00ed \u010di situac\u00ed. Samoz\u0159ejm\u011b by mohlo sv\u00e1d\u011bt k bezprost\u0159edn\u00ed reflexi tehdy vyhrocen\u00e9 situace uprchlick\u00e9 krize. Sucho\u017ea tak u\u010dinil s ironick\u00fdm, a\u017e sarkastick\u00fdm odstupem, mohlo by se zd\u00e1t a\u017e blasfemick\u00fdm, kdy\u017e p\u0159edstavil svou multiplikovanou sochu tradi\u010dn\u00ed evropsk\u00e9 stoj\u00edc\u00ed madony se sepjat\u00fdma rukama, le\u010d s nik\u00e1bem na hlav\u011b.<\/p>\n\n\n\n
To je jedna z lini\u00ed jeho aktu\u00e1ln\u00ed tvorby, kterou d\u00e1le rozv\u00edj\u00ed, kdy\u017e na re\u00e1ln\u00e9, materi\u00e1ln\u00ed \u00farovni kombinuje a spojuje p\u0159edm\u011bty typick\u00e9 pro r\u016fzn\u00e1 sv\u011btov\u00e1 n\u00e1bo\u017eenstv\u00ed. Tak strom \u017eivot, hebrejsky acej chajim, jsou d\u0159ev\u011bn\u00e9 v\u00e1lce s ozdobn\u00fdmi dr\u017eadly, na kter\u00fd je navinuta T\u00f3ra, tedy p\u011bt Knih Moj\u017e\u00ed\u0161ov\u00fdch Star\u00e9ho z\u00e1kona. Sucho\u017ea na n\u011b navine muslimsk\u00fd modlitebn\u00ed koberec\u2026 Tradi\u010dn\u00ed k\u0159es\u0165ansk\u00e9 klek\u00e1tko s podu\u0161kou pod lokty ur\u010den\u00e9 k soukrom\u00e9 intimn\u00ed modlitb\u011b opolstruje \u010dern\u00fdm sametem se zlat\u00fdm arabsk\u00fdm n\u00e1zvem All\u00e1hu Akbar. P\u0159echodem k druh\u00e9, paramilit\u00e1rn\u00ed \u010di pseudomilit\u00e1rn\u00ed tematick\u00e9 linii je so\u0161ka madony v nik\u00e1bu, stoj\u00edc\u00ed na zem\u011bkouli, jakoby v parodick\u00e9m a kontroverzn\u00edm inverzn\u00edm obr\u00e1cen\u00ed sekul\u00e1rn\u00ed ikony, trofeje pro mistry sv\u011bta v kopan\u00e9, kter\u00e1 od roku 1971 nahradila ukradenou Zlatou Nik\u00e9. A vlastn\u011b nestoj\u00ed, ale je horizont\u00e1ln\u011b ulo\u017eena do vojensk\u00e9 d\u0159ev\u011bn\u00e9 bedny v zelen\u00e9 barv\u011b, ur\u010den\u00e9 sp\u00ed\u0161e pro minometn\u00e9 st\u0159ely. To milit\u00e1rn\u00ed t\u00e9ma variuje i na jin\u00fdch sympozi\u00edch, nej\u010dast\u011bji zl\u00ednsk\u00e9m Panta Rhei (vojensk\u00e1 v\u00e1le\u010dn\u00e1 nos\u00edtka, jejich\u017e madla jsou osazena velk\u00fdmi r\u016f\u017eov\u00fdmi trny, jak zde nesly\u0161et ozv\u011bnu Josepha Beyuse\u2026). Na principu kontrastu a ne\u010dekan\u00fdch, provokativn\u00edch, a\u017e \u2013 jak ji\u017e \u0159e\u010deno \u2013 rouhav\u00fdch konfrontac\u00ed stav\u00ed vedle sebe a k sob\u011b sv\u011bty zcela nesourod\u00e9 \u2013 protitankov\u00e1 mina zdoben\u00e1 lidov\u00fdm ornamentem. D\u00e1rkov\u00e1 sada s ru\u010dn\u00ed \u00fato\u010dnou zbran\u00ed, ocelov\u00fdm boxerem nebo podivn\u00e1 zbra\u0148 tvo\u0159en\u00e1 \u017eulovou kostkou na d\u0159ev\u011bn\u00e9m madle. Jsme sv\u011bdky konfrontace dvou sv\u011bt\u016f, kter\u00e9 jsou ale nesourod\u00e9 jen zd\u00e1nliv\u011b, ony toti\u017e tady vedle n\u00e1s, v n\u00e1s, s n\u00e1mi denn\u011b jsou, spolupod\u00edl\u00ed se na celku na\u0161eho sv\u011bta, zneji\u0161\u0165uj\u00ed n\u00e1m jej, \u010din\u00ed jej nesamoz\u0159ejm\u00fdm, a tedy, paradoxn\u011b, jedin\u011b mo\u017en\u00fdm, re\u00e1ln\u00fdm, skute\u010dn\u00fdm.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
\n <\/a> <\/div>\n<\/div>\n\n\n Jozef Suchoz\u030ca \u2013 Portfolio 8<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 9<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 9<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Absolvoval v roce 2003 v socha\u0159sk\u00e9m ateli\u00e9ru doc. Juraje Sapary na Fakult\u011b v\u00fdtvarn\u00fdch um\u011bn\u00ed Akademie um\u011bn\u00ed v Bansk\u00e9 Bystrici. V roce 2010 z\u00edskal doktor\u00e1t, od roku 2004 p\u016fsob\u00ed jako asistent na kated\u0159e socha\u0159stv\u00ed zm\u00edn\u011bn\u00e9 instituce.<\/p>\n\n\n\n
Jeho t\u00e9matem nen\u00ed je socha jako takov\u00e1, ale velmi \u010dasto instalace, objekty, intervence do ready made, intermedia a performance. Vizualita b\u00fdv\u00e1 dopln\u011bna zvukem, pohybliv\u00fdm obrazem, p\u0159\u00edtomn\u00fdmi z\u00e1sahy \u017eivl\u016f jako jsou voda nebo ohe\u0148. Prostorem pro tvorbu, krom\u011b ateli\u00e9ru, jsou nej\u010dast\u011bji sympozia, kde vyu\u017e\u00edv\u00e1 mo\u017enosti v \u010dase pracovat se zvolen\u00fdm materi\u00e1lem \u010dasto i v\u011bt\u0161\u00edch rozm\u011br\u016f a, a to je d\u016fle\u017eit\u00e9, v sousedstv\u00ed podobn\u011b sm\u00fd\u0161lej\u00edc\u00edch tv\u016frc\u016f. Do jeho tvorby vstupuje v posledn\u00ed dob\u011b ironick\u00e1 nota, kterou Sucho\u017ea komentuje aktu\u00e1ln\u00ed politick\u00e1 t\u00e9mata, ale nikoliv jen up to date, ale s v\u00fdrazn\u00fdm \u010dasov\u00fdm i emocion\u00e1ln\u00edm p\u0159esahem, do budoucnosti i historie.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Tak nap\u0159\u00edklad jeden z ned\u00e1vn\u00fdch ro\u010dn\u00edk\u016f mezin\u00e1rodn\u00edho sympozia v ma\u010farsk\u00e9m Ceredu m\u011bl sjednocuj\u00edc\u00ed t\u00e9ma Odd\u011blen\u00e9 prostory \/ Separated spaces a pod\u00edleli se na n\u011bm tv\u016frci z po\u0159\u00e1daj\u00edc\u00edho Ma\u010farska, d\u00e1le z Finska, Rumunska, Slovenska a \u010cesk\u00e9 republiky. T\u00e9ma je dostate\u010dn\u011b metaforick\u00e9, ale i konkr\u00e9tn\u00ed, aby se mohlo st\u00e1t prostorem pro vyj\u00e1d\u0159en\u00ed soukrom\u00fdch, intimn\u00edch i spole\u010densk\u00fdch stav\u016f, akc\u00ed \u010di situac\u00ed. Samoz\u0159ejm\u011b by mohlo sv\u00e1d\u011bt k bezprost\u0159edn\u00ed reflexi tehdy vyhrocen\u00e9 situace uprchlick\u00e9 krize. Sucho\u017ea tak u\u010dinil s ironick\u00fdm, a\u017e sarkastick\u00fdm odstupem, mohlo by se zd\u00e1t a\u017e blasfemick\u00fdm, kdy\u017e p\u0159edstavil svou multiplikovanou sochu tradi\u010dn\u00ed evropsk\u00e9 stoj\u00edc\u00ed madony se sepjat\u00fdma rukama, le\u010d s nik\u00e1bem na hlav\u011b.<\/p>\n\n\n\n
To je jedna z lini\u00ed jeho aktu\u00e1ln\u00ed tvorby, kterou d\u00e1le rozv\u00edj\u00ed, kdy\u017e na re\u00e1ln\u00e9, materi\u00e1ln\u00ed \u00farovni kombinuje a spojuje p\u0159edm\u011bty typick\u00e9 pro r\u016fzn\u00e1 sv\u011btov\u00e1 n\u00e1bo\u017eenstv\u00ed. Tak strom \u017eivot, hebrejsky acej chajim, jsou d\u0159ev\u011bn\u00e9 v\u00e1lce s ozdobn\u00fdmi dr\u017eadly, na kter\u00fd je navinuta T\u00f3ra, tedy p\u011bt Knih Moj\u017e\u00ed\u0161ov\u00fdch Star\u00e9ho z\u00e1kona. Sucho\u017ea na n\u011b navine muslimsk\u00fd modlitebn\u00ed koberec\u2026 Tradi\u010dn\u00ed k\u0159es\u0165ansk\u00e9 klek\u00e1tko s podu\u0161kou pod lokty ur\u010den\u00e9 k soukrom\u00e9 intimn\u00ed modlitb\u011b opolstruje \u010dern\u00fdm sametem se zlat\u00fdm arabsk\u00fdm n\u00e1zvem All\u00e1hu Akbar. P\u0159echodem k druh\u00e9, paramilit\u00e1rn\u00ed \u010di pseudomilit\u00e1rn\u00ed tematick\u00e9 linii je so\u0161ka madony v nik\u00e1bu, stoj\u00edc\u00ed na zem\u011bkouli, jakoby v parodick\u00e9m a kontroverzn\u00edm inverzn\u00edm obr\u00e1cen\u00ed sekul\u00e1rn\u00ed ikony, trofeje pro mistry sv\u011bta v kopan\u00e9, kter\u00e1 od roku 1971 nahradila ukradenou Zlatou Nik\u00e9. A vlastn\u011b nestoj\u00ed, ale je horizont\u00e1ln\u011b ulo\u017eena do vojensk\u00e9 d\u0159ev\u011bn\u00e9 bedny v zelen\u00e9 barv\u011b, ur\u010den\u00e9 sp\u00ed\u0161e pro minometn\u00e9 st\u0159ely. To milit\u00e1rn\u00ed t\u00e9ma variuje i na jin\u00fdch sympozi\u00edch, nej\u010dast\u011bji zl\u00ednsk\u00e9m Panta Rhei (vojensk\u00e1 v\u00e1le\u010dn\u00e1 nos\u00edtka, jejich\u017e madla jsou osazena velk\u00fdmi r\u016f\u017eov\u00fdmi trny, jak zde nesly\u0161et ozv\u011bnu Josepha Beyuse\u2026). Na principu kontrastu a ne\u010dekan\u00fdch, provokativn\u00edch, a\u017e \u2013 jak ji\u017e \u0159e\u010deno \u2013 rouhav\u00fdch konfrontac\u00ed stav\u00ed vedle sebe a k sob\u011b sv\u011bty zcela nesourod\u00e9 \u2013 protitankov\u00e1 mina zdoben\u00e1 lidov\u00fdm ornamentem. D\u00e1rkov\u00e1 sada s ru\u010dn\u00ed \u00fato\u010dnou zbran\u00ed, ocelov\u00fdm boxerem nebo podivn\u00e1 zbra\u0148 tvo\u0159en\u00e1 \u017eulovou kostkou na d\u0159ev\u011bn\u00e9m madle. Jsme sv\u011bdky konfrontace dvou sv\u011bt\u016f, kter\u00e9 jsou ale nesourod\u00e9 jen zd\u00e1nliv\u011b, ony toti\u017e tady vedle n\u00e1s, v n\u00e1s, s n\u00e1mi denn\u011b jsou, spolupod\u00edl\u00ed se na celku na\u0161eho sv\u011bta, zneji\u0161\u0165uj\u00ed n\u00e1m jej, \u010din\u00ed jej nesamoz\u0159ejm\u00fdm, a tedy, paradoxn\u011b, jedin\u011b mo\u017en\u00fdm, re\u00e1ln\u00fdm, skute\u010dn\u00fdm.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
Jozef Suchoz\u030ca \u2013 Portfolio 9<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 9<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Absolvoval v roce 2003 v socha\u0159sk\u00e9m ateli\u00e9ru doc. Juraje Sapary na Fakult\u011b v\u00fdtvarn\u00fdch um\u011bn\u00ed Akademie um\u011bn\u00ed v Bansk\u00e9 Bystrici. V roce 2010 z\u00edskal doktor\u00e1t, od roku 2004 p\u016fsob\u00ed jako asistent na kated\u0159e socha\u0159stv\u00ed zm\u00edn\u011bn\u00e9 instituce.<\/p>\n\n\n\n
Jeho t\u00e9matem nen\u00ed je socha jako takov\u00e1, ale velmi \u010dasto instalace, objekty, intervence do ready made, intermedia a performance. Vizualita b\u00fdv\u00e1 dopln\u011bna zvukem, pohybliv\u00fdm obrazem, p\u0159\u00edtomn\u00fdmi z\u00e1sahy \u017eivl\u016f jako jsou voda nebo ohe\u0148. Prostorem pro tvorbu, krom\u011b ateli\u00e9ru, jsou nej\u010dast\u011bji sympozia, kde vyu\u017e\u00edv\u00e1 mo\u017enosti v \u010dase pracovat se zvolen\u00fdm materi\u00e1lem \u010dasto i v\u011bt\u0161\u00edch rozm\u011br\u016f a, a to je d\u016fle\u017eit\u00e9, v sousedstv\u00ed podobn\u011b sm\u00fd\u0161lej\u00edc\u00edch tv\u016frc\u016f. Do jeho tvorby vstupuje v posledn\u00ed dob\u011b ironick\u00e1 nota, kterou Sucho\u017ea komentuje aktu\u00e1ln\u00ed politick\u00e1 t\u00e9mata, ale nikoliv jen up to date, ale s v\u00fdrazn\u00fdm \u010dasov\u00fdm i emocion\u00e1ln\u00edm p\u0159esahem, do budoucnosti i historie.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Tak nap\u0159\u00edklad jeden z ned\u00e1vn\u00fdch ro\u010dn\u00edk\u016f mezin\u00e1rodn\u00edho sympozia v ma\u010farsk\u00e9m Ceredu m\u011bl sjednocuj\u00edc\u00ed t\u00e9ma Odd\u011blen\u00e9 prostory \/ Separated spaces a pod\u00edleli se na n\u011bm tv\u016frci z po\u0159\u00e1daj\u00edc\u00edho Ma\u010farska, d\u00e1le z Finska, Rumunska, Slovenska a \u010cesk\u00e9 republiky. T\u00e9ma je dostate\u010dn\u011b metaforick\u00e9, ale i konkr\u00e9tn\u00ed, aby se mohlo st\u00e1t prostorem pro vyj\u00e1d\u0159en\u00ed soukrom\u00fdch, intimn\u00edch i spole\u010densk\u00fdch stav\u016f, akc\u00ed \u010di situac\u00ed. Samoz\u0159ejm\u011b by mohlo sv\u00e1d\u011bt k bezprost\u0159edn\u00ed reflexi tehdy vyhrocen\u00e9 situace uprchlick\u00e9 krize. Sucho\u017ea tak u\u010dinil s ironick\u00fdm, a\u017e sarkastick\u00fdm odstupem, mohlo by se zd\u00e1t a\u017e blasfemick\u00fdm, kdy\u017e p\u0159edstavil svou multiplikovanou sochu tradi\u010dn\u00ed evropsk\u00e9 stoj\u00edc\u00ed madony se sepjat\u00fdma rukama, le\u010d s nik\u00e1bem na hlav\u011b.<\/p>\n\n\n\n
To je jedna z lini\u00ed jeho aktu\u00e1ln\u00ed tvorby, kterou d\u00e1le rozv\u00edj\u00ed, kdy\u017e na re\u00e1ln\u00e9, materi\u00e1ln\u00ed \u00farovni kombinuje a spojuje p\u0159edm\u011bty typick\u00e9 pro r\u016fzn\u00e1 sv\u011btov\u00e1 n\u00e1bo\u017eenstv\u00ed. Tak strom \u017eivot, hebrejsky acej chajim, jsou d\u0159ev\u011bn\u00e9 v\u00e1lce s ozdobn\u00fdmi dr\u017eadly, na kter\u00fd je navinuta T\u00f3ra, tedy p\u011bt Knih Moj\u017e\u00ed\u0161ov\u00fdch Star\u00e9ho z\u00e1kona. Sucho\u017ea na n\u011b navine muslimsk\u00fd modlitebn\u00ed koberec\u2026 Tradi\u010dn\u00ed k\u0159es\u0165ansk\u00e9 klek\u00e1tko s podu\u0161kou pod lokty ur\u010den\u00e9 k soukrom\u00e9 intimn\u00ed modlitb\u011b opolstruje \u010dern\u00fdm sametem se zlat\u00fdm arabsk\u00fdm n\u00e1zvem All\u00e1hu Akbar. P\u0159echodem k druh\u00e9, paramilit\u00e1rn\u00ed \u010di pseudomilit\u00e1rn\u00ed tematick\u00e9 linii je so\u0161ka madony v nik\u00e1bu, stoj\u00edc\u00ed na zem\u011bkouli, jakoby v parodick\u00e9m a kontroverzn\u00edm inverzn\u00edm obr\u00e1cen\u00ed sekul\u00e1rn\u00ed ikony, trofeje pro mistry sv\u011bta v kopan\u00e9, kter\u00e1 od roku 1971 nahradila ukradenou Zlatou Nik\u00e9. A vlastn\u011b nestoj\u00ed, ale je horizont\u00e1ln\u011b ulo\u017eena do vojensk\u00e9 d\u0159ev\u011bn\u00e9 bedny v zelen\u00e9 barv\u011b, ur\u010den\u00e9 sp\u00ed\u0161e pro minometn\u00e9 st\u0159ely. To milit\u00e1rn\u00ed t\u00e9ma variuje i na jin\u00fdch sympozi\u00edch, nej\u010dast\u011bji zl\u00ednsk\u00e9m Panta Rhei (vojensk\u00e1 v\u00e1le\u010dn\u00e1 nos\u00edtka, jejich\u017e madla jsou osazena velk\u00fdmi r\u016f\u017eov\u00fdmi trny, jak zde nesly\u0161et ozv\u011bnu Josepha Beyuse\u2026). Na principu kontrastu a ne\u010dekan\u00fdch, provokativn\u00edch, a\u017e \u2013 jak ji\u017e \u0159e\u010deno \u2013 rouhav\u00fdch konfrontac\u00ed stav\u00ed vedle sebe a k sob\u011b sv\u011bty zcela nesourod\u00e9 \u2013 protitankov\u00e1 mina zdoben\u00e1 lidov\u00fdm ornamentem. D\u00e1rkov\u00e1 sada s ru\u010dn\u00ed \u00fato\u010dnou zbran\u00ed, ocelov\u00fdm boxerem nebo podivn\u00e1 zbra\u0148 tvo\u0159en\u00e1 \u017eulovou kostkou na d\u0159ev\u011bn\u00e9m madle. Jsme sv\u011bdky konfrontace dvou sv\u011bt\u016f, kter\u00e9 jsou ale nesourod\u00e9 jen zd\u00e1nliv\u011b, ony toti\u017e tady vedle n\u00e1s, v n\u00e1s, s n\u00e1mi denn\u011b jsou, spolupod\u00edl\u00ed se na celku na\u0161eho sv\u011bta, zneji\u0161\u0165uj\u00ed n\u00e1m jej, \u010din\u00ed jej nesamoz\u0159ejm\u00fdm, a tedy, paradoxn\u011b, jedin\u011b mo\u017en\u00fdm, re\u00e1ln\u00fdm, skute\u010dn\u00fdm.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
\n <\/a> <\/div>\n<\/div>\n\n\n Jozef Suchoz\u030ca \u2013 Portfolio 9<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Absolvoval v roce 2003 v socha\u0159sk\u00e9m ateli\u00e9ru doc. Juraje Sapary na Fakult\u011b v\u00fdtvarn\u00fdch um\u011bn\u00ed Akademie um\u011bn\u00ed v Bansk\u00e9 Bystrici. V roce 2010 z\u00edskal doktor\u00e1t, od roku 2004 p\u016fsob\u00ed jako asistent na kated\u0159e socha\u0159stv\u00ed zm\u00edn\u011bn\u00e9 instituce.<\/p>\n\n\n\n
Jeho t\u00e9matem nen\u00ed je socha jako takov\u00e1, ale velmi \u010dasto instalace, objekty, intervence do ready made, intermedia a performance. Vizualita b\u00fdv\u00e1 dopln\u011bna zvukem, pohybliv\u00fdm obrazem, p\u0159\u00edtomn\u00fdmi z\u00e1sahy \u017eivl\u016f jako jsou voda nebo ohe\u0148. Prostorem pro tvorbu, krom\u011b ateli\u00e9ru, jsou nej\u010dast\u011bji sympozia, kde vyu\u017e\u00edv\u00e1 mo\u017enosti v \u010dase pracovat se zvolen\u00fdm materi\u00e1lem \u010dasto i v\u011bt\u0161\u00edch rozm\u011br\u016f a, a to je d\u016fle\u017eit\u00e9, v sousedstv\u00ed podobn\u011b sm\u00fd\u0161lej\u00edc\u00edch tv\u016frc\u016f. Do jeho tvorby vstupuje v posledn\u00ed dob\u011b ironick\u00e1 nota, kterou Sucho\u017ea komentuje aktu\u00e1ln\u00ed politick\u00e1 t\u00e9mata, ale nikoliv jen up to date, ale s v\u00fdrazn\u00fdm \u010dasov\u00fdm i emocion\u00e1ln\u00edm p\u0159esahem, do budoucnosti i historie.<\/p>\n\n\n
\n <\/div>\n <\/div>\n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Tak nap\u0159\u00edklad jeden z ned\u00e1vn\u00fdch ro\u010dn\u00edk\u016f mezin\u00e1rodn\u00edho sympozia v ma\u010farsk\u00e9m Ceredu m\u011bl sjednocuj\u00edc\u00ed t\u00e9ma Odd\u011blen\u00e9 prostory \/ Separated spaces a pod\u00edleli se na n\u011bm tv\u016frci z po\u0159\u00e1daj\u00edc\u00edho Ma\u010farska, d\u00e1le z Finska, Rumunska, Slovenska a \u010cesk\u00e9 republiky. T\u00e9ma je dostate\u010dn\u011b metaforick\u00e9, ale i konkr\u00e9tn\u00ed, aby se mohlo st\u00e1t prostorem pro vyj\u00e1d\u0159en\u00ed soukrom\u00fdch, intimn\u00edch i spole\u010densk\u00fdch stav\u016f, akc\u00ed \u010di situac\u00ed. Samoz\u0159ejm\u011b by mohlo sv\u00e1d\u011bt k bezprost\u0159edn\u00ed reflexi tehdy vyhrocen\u00e9 situace uprchlick\u00e9 krize. Sucho\u017ea tak u\u010dinil s ironick\u00fdm, a\u017e sarkastick\u00fdm odstupem, mohlo by se zd\u00e1t a\u017e blasfemick\u00fdm, kdy\u017e p\u0159edstavil svou multiplikovanou sochu tradi\u010dn\u00ed evropsk\u00e9 stoj\u00edc\u00ed madony se sepjat\u00fdma rukama, le\u010d s nik\u00e1bem na hlav\u011b.<\/p>\n\n\n\n
To je jedna z lini\u00ed jeho aktu\u00e1ln\u00ed tvorby, kterou d\u00e1le rozv\u00edj\u00ed, kdy\u017e na re\u00e1ln\u00e9, materi\u00e1ln\u00ed \u00farovni kombinuje a spojuje p\u0159edm\u011bty typick\u00e9 pro r\u016fzn\u00e1 sv\u011btov\u00e1 n\u00e1bo\u017eenstv\u00ed. Tak strom \u017eivot, hebrejsky acej chajim, jsou d\u0159ev\u011bn\u00e9 v\u00e1lce s ozdobn\u00fdmi dr\u017eadly, na kter\u00fd je navinuta T\u00f3ra, tedy p\u011bt Knih Moj\u017e\u00ed\u0161ov\u00fdch Star\u00e9ho z\u00e1kona. Sucho\u017ea na n\u011b navine muslimsk\u00fd modlitebn\u00ed koberec\u2026 Tradi\u010dn\u00ed k\u0159es\u0165ansk\u00e9 klek\u00e1tko s podu\u0161kou pod lokty ur\u010den\u00e9 k soukrom\u00e9 intimn\u00ed modlitb\u011b opolstruje \u010dern\u00fdm sametem se zlat\u00fdm arabsk\u00fdm n\u00e1zvem All\u00e1hu Akbar. P\u0159echodem k druh\u00e9, paramilit\u00e1rn\u00ed \u010di pseudomilit\u00e1rn\u00ed tematick\u00e9 linii je so\u0161ka madony v nik\u00e1bu, stoj\u00edc\u00ed na zem\u011bkouli, jakoby v parodick\u00e9m a kontroverzn\u00edm inverzn\u00edm obr\u00e1cen\u00ed sekul\u00e1rn\u00ed ikony, trofeje pro mistry sv\u011bta v kopan\u00e9, kter\u00e1 od roku 1971 nahradila ukradenou Zlatou Nik\u00e9. A vlastn\u011b nestoj\u00ed, ale je horizont\u00e1ln\u011b ulo\u017eena do vojensk\u00e9 d\u0159ev\u011bn\u00e9 bedny v zelen\u00e9 barv\u011b, ur\u010den\u00e9 sp\u00ed\u0161e pro minometn\u00e9 st\u0159ely. To milit\u00e1rn\u00ed t\u00e9ma variuje i na jin\u00fdch sympozi\u00edch, nej\u010dast\u011bji zl\u00ednsk\u00e9m Panta Rhei (vojensk\u00e1 v\u00e1le\u010dn\u00e1 nos\u00edtka, jejich\u017e madla jsou osazena velk\u00fdmi r\u016f\u017eov\u00fdmi trny, jak zde nesly\u0161et ozv\u011bnu Josepha Beyuse\u2026). Na principu kontrastu a ne\u010dekan\u00fdch, provokativn\u00edch, a\u017e \u2013 jak ji\u017e \u0159e\u010deno \u2013 rouhav\u00fdch konfrontac\u00ed stav\u00ed vedle sebe a k sob\u011b sv\u011bty zcela nesourod\u00e9 \u2013 protitankov\u00e1 mina zdoben\u00e1 lidov\u00fdm ornamentem. D\u00e1rkov\u00e1 sada s ru\u010dn\u00ed \u00fato\u010dnou zbran\u00ed, ocelov\u00fdm boxerem nebo podivn\u00e1 zbra\u0148 tvo\u0159en\u00e1 \u017eulovou kostkou na d\u0159ev\u011bn\u00e9m madle. Jsme sv\u011bdky konfrontace dvou sv\u011bt\u016f, kter\u00e9 jsou ale nesourod\u00e9 jen zd\u00e1nliv\u011b, ony toti\u017e tady vedle n\u00e1s, v n\u00e1s, s n\u00e1mi denn\u011b jsou, spolupod\u00edl\u00ed se na celku na\u0161eho sv\u011bta, zneji\u0161\u0165uj\u00ed n\u00e1m jej, \u010din\u00ed jej nesamoz\u0159ejm\u00fdm, a tedy, paradoxn\u011b, jedin\u011b mo\u017en\u00fdm, re\u00e1ln\u00fdm, skute\u010dn\u00fdm.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
\n <\/a> <\/div>\n<\/div>\n\n\n Jozef Suchoz\u030ca \u2013 Portfolio 10<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Tak nap\u0159\u00edklad jeden z ned\u00e1vn\u00fdch ro\u010dn\u00edk\u016f mezin\u00e1rodn\u00edho sympozia v ma\u010farsk\u00e9m Ceredu m\u011bl sjednocuj\u00edc\u00ed t\u00e9ma Odd\u011blen\u00e9 prostory \/ Separated spaces a pod\u00edleli se na n\u011bm tv\u016frci z po\u0159\u00e1daj\u00edc\u00edho Ma\u010farska, d\u00e1le z Finska, Rumunska, Slovenska a \u010cesk\u00e9 republiky. T\u00e9ma je dostate\u010dn\u011b metaforick\u00e9, ale i konkr\u00e9tn\u00ed, aby se mohlo st\u00e1t prostorem pro vyj\u00e1d\u0159en\u00ed soukrom\u00fdch, intimn\u00edch i spole\u010densk\u00fdch stav\u016f, akc\u00ed \u010di situac\u00ed. Samoz\u0159ejm\u011b by mohlo sv\u00e1d\u011bt k bezprost\u0159edn\u00ed reflexi tehdy vyhrocen\u00e9 situace uprchlick\u00e9 krize. Sucho\u017ea tak u\u010dinil s ironick\u00fdm, a\u017e sarkastick\u00fdm odstupem, mohlo by se zd\u00e1t a\u017e blasfemick\u00fdm, kdy\u017e p\u0159edstavil svou multiplikovanou sochu tradi\u010dn\u00ed evropsk\u00e9 stoj\u00edc\u00ed madony se sepjat\u00fdma rukama, le\u010d s nik\u00e1bem na hlav\u011b.<\/p>\n\n\n\n
To je jedna z lini\u00ed jeho aktu\u00e1ln\u00ed tvorby, kterou d\u00e1le rozv\u00edj\u00ed, kdy\u017e na re\u00e1ln\u00e9, materi\u00e1ln\u00ed \u00farovni kombinuje a spojuje p\u0159edm\u011bty typick\u00e9 pro r\u016fzn\u00e1 sv\u011btov\u00e1 n\u00e1bo\u017eenstv\u00ed. Tak strom \u017eivot, hebrejsky acej chajim, jsou d\u0159ev\u011bn\u00e9 v\u00e1lce s ozdobn\u00fdmi dr\u017eadly, na kter\u00fd je navinuta T\u00f3ra, tedy p\u011bt Knih Moj\u017e\u00ed\u0161ov\u00fdch Star\u00e9ho z\u00e1kona. Sucho\u017ea na n\u011b navine muslimsk\u00fd modlitebn\u00ed koberec\u2026 Tradi\u010dn\u00ed k\u0159es\u0165ansk\u00e9 klek\u00e1tko s podu\u0161kou pod lokty ur\u010den\u00e9 k soukrom\u00e9 intimn\u00ed modlitb\u011b opolstruje \u010dern\u00fdm sametem se zlat\u00fdm arabsk\u00fdm n\u00e1zvem All\u00e1hu Akbar. P\u0159echodem k druh\u00e9, paramilit\u00e1rn\u00ed \u010di pseudomilit\u00e1rn\u00ed tematick\u00e9 linii je so\u0161ka madony v nik\u00e1bu, stoj\u00edc\u00ed na zem\u011bkouli, jakoby v parodick\u00e9m a kontroverzn\u00edm inverzn\u00edm obr\u00e1cen\u00ed sekul\u00e1rn\u00ed ikony, trofeje pro mistry sv\u011bta v kopan\u00e9, kter\u00e1 od roku 1971 nahradila ukradenou Zlatou Nik\u00e9. A vlastn\u011b nestoj\u00ed, ale je horizont\u00e1ln\u011b ulo\u017eena do vojensk\u00e9 d\u0159ev\u011bn\u00e9 bedny v zelen\u00e9 barv\u011b, ur\u010den\u00e9 sp\u00ed\u0161e pro minometn\u00e9 st\u0159ely. To milit\u00e1rn\u00ed t\u00e9ma variuje i na jin\u00fdch sympozi\u00edch, nej\u010dast\u011bji zl\u00ednsk\u00e9m Panta Rhei (vojensk\u00e1 v\u00e1le\u010dn\u00e1 nos\u00edtka, jejich\u017e madla jsou osazena velk\u00fdmi r\u016f\u017eov\u00fdmi trny, jak zde nesly\u0161et ozv\u011bnu Josepha Beyuse\u2026). Na principu kontrastu a ne\u010dekan\u00fdch, provokativn\u00edch, a\u017e \u2013 jak ji\u017e \u0159e\u010deno \u2013 rouhav\u00fdch konfrontac\u00ed stav\u00ed vedle sebe a k sob\u011b sv\u011bty zcela nesourod\u00e9 \u2013 protitankov\u00e1 mina zdoben\u00e1 lidov\u00fdm ornamentem. D\u00e1rkov\u00e1 sada s ru\u010dn\u00ed \u00fato\u010dnou zbran\u00ed, ocelov\u00fdm boxerem nebo podivn\u00e1 zbra\u0148 tvo\u0159en\u00e1 \u017eulovou kostkou na d\u0159ev\u011bn\u00e9m madle. Jsme sv\u011bdky konfrontace dvou sv\u011bt\u016f, kter\u00e9 jsou ale nesourod\u00e9 jen zd\u00e1nliv\u011b, ony toti\u017e tady vedle n\u00e1s, v n\u00e1s, s n\u00e1mi denn\u011b jsou, spolupod\u00edl\u00ed se na celku na\u0161eho sv\u011bta, zneji\u0161\u0165uj\u00ed n\u00e1m jej, \u010din\u00ed jej nesamoz\u0159ejm\u00fdm, a tedy, paradoxn\u011b, jedin\u011b mo\u017en\u00fdm, re\u00e1ln\u00fdm, skute\u010dn\u00fdm.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Tak nap\u0159\u00edklad jeden z ned\u00e1vn\u00fdch ro\u010dn\u00edk\u016f mezin\u00e1rodn\u00edho sympozia v ma\u010farsk\u00e9m Ceredu m\u011bl sjednocuj\u00edc\u00ed t\u00e9ma Odd\u011blen\u00e9 prostory \/ Separated spaces a pod\u00edleli se na n\u011bm tv\u016frci z po\u0159\u00e1daj\u00edc\u00edho Ma\u010farska, d\u00e1le z Finska, Rumunska, Slovenska a \u010cesk\u00e9 republiky. T\u00e9ma je dostate\u010dn\u011b metaforick\u00e9, ale i konkr\u00e9tn\u00ed, aby se mohlo st\u00e1t prostorem pro vyj\u00e1d\u0159en\u00ed soukrom\u00fdch, intimn\u00edch i spole\u010densk\u00fdch stav\u016f, akc\u00ed \u010di situac\u00ed. Samoz\u0159ejm\u011b by mohlo sv\u00e1d\u011bt k bezprost\u0159edn\u00ed reflexi tehdy vyhrocen\u00e9 situace uprchlick\u00e9 krize. Sucho\u017ea tak u\u010dinil s ironick\u00fdm, a\u017e sarkastick\u00fdm odstupem, mohlo by se zd\u00e1t a\u017e blasfemick\u00fdm, kdy\u017e p\u0159edstavil svou multiplikovanou sochu tradi\u010dn\u00ed evropsk\u00e9 stoj\u00edc\u00ed madony se sepjat\u00fdma rukama, le\u010d s nik\u00e1bem na hlav\u011b.<\/p>\n\n\n\n
To je jedna z lini\u00ed jeho aktu\u00e1ln\u00ed tvorby, kterou d\u00e1le rozv\u00edj\u00ed, kdy\u017e na re\u00e1ln\u00e9, materi\u00e1ln\u00ed \u00farovni kombinuje a spojuje p\u0159edm\u011bty typick\u00e9 pro r\u016fzn\u00e1 sv\u011btov\u00e1 n\u00e1bo\u017eenstv\u00ed. Tak strom \u017eivot, hebrejsky acej chajim, jsou d\u0159ev\u011bn\u00e9 v\u00e1lce s ozdobn\u00fdmi dr\u017eadly, na kter\u00fd je navinuta T\u00f3ra, tedy p\u011bt Knih Moj\u017e\u00ed\u0161ov\u00fdch Star\u00e9ho z\u00e1kona. Sucho\u017ea na n\u011b navine muslimsk\u00fd modlitebn\u00ed koberec\u2026 Tradi\u010dn\u00ed k\u0159es\u0165ansk\u00e9 klek\u00e1tko s podu\u0161kou pod lokty ur\u010den\u00e9 k soukrom\u00e9 intimn\u00ed modlitb\u011b opolstruje \u010dern\u00fdm sametem se zlat\u00fdm arabsk\u00fdm n\u00e1zvem All\u00e1hu Akbar. P\u0159echodem k druh\u00e9, paramilit\u00e1rn\u00ed \u010di pseudomilit\u00e1rn\u00ed tematick\u00e9 linii je so\u0161ka madony v nik\u00e1bu, stoj\u00edc\u00ed na zem\u011bkouli, jakoby v parodick\u00e9m a kontroverzn\u00edm inverzn\u00edm obr\u00e1cen\u00ed sekul\u00e1rn\u00ed ikony, trofeje pro mistry sv\u011bta v kopan\u00e9, kter\u00e1 od roku 1971 nahradila ukradenou Zlatou Nik\u00e9. A vlastn\u011b nestoj\u00ed, ale je horizont\u00e1ln\u011b ulo\u017eena do vojensk\u00e9 d\u0159ev\u011bn\u00e9 bedny v zelen\u00e9 barv\u011b, ur\u010den\u00e9 sp\u00ed\u0161e pro minometn\u00e9 st\u0159ely. To milit\u00e1rn\u00ed t\u00e9ma variuje i na jin\u00fdch sympozi\u00edch, nej\u010dast\u011bji zl\u00ednsk\u00e9m Panta Rhei (vojensk\u00e1 v\u00e1le\u010dn\u00e1 nos\u00edtka, jejich\u017e madla jsou osazena velk\u00fdmi r\u016f\u017eov\u00fdmi trny, jak zde nesly\u0161et ozv\u011bnu Josepha Beyuse\u2026). Na principu kontrastu a ne\u010dekan\u00fdch, provokativn\u00edch, a\u017e \u2013 jak ji\u017e \u0159e\u010deno \u2013 rouhav\u00fdch konfrontac\u00ed stav\u00ed vedle sebe a k sob\u011b sv\u011bty zcela nesourod\u00e9 \u2013 protitankov\u00e1 mina zdoben\u00e1 lidov\u00fdm ornamentem. D\u00e1rkov\u00e1 sada s ru\u010dn\u00ed \u00fato\u010dnou zbran\u00ed, ocelov\u00fdm boxerem nebo podivn\u00e1 zbra\u0148 tvo\u0159en\u00e1 \u017eulovou kostkou na d\u0159ev\u011bn\u00e9m madle. Jsme sv\u011bdky konfrontace dvou sv\u011bt\u016f, kter\u00e9 jsou ale nesourod\u00e9 jen zd\u00e1nliv\u011b, ony toti\u017e tady vedle n\u00e1s, v n\u00e1s, s n\u00e1mi denn\u011b jsou, spolupod\u00edl\u00ed se na celku na\u0161eho sv\u011bta, zneji\u0161\u0165uj\u00ed n\u00e1m jej, \u010din\u00ed jej nesamoz\u0159ejm\u00fdm, a tedy, paradoxn\u011b, jedin\u011b mo\u017en\u00fdm, re\u00e1ln\u00fdm, skute\u010dn\u00fdm.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
\n <\/a> <\/div>\n<\/div>\n\n\n Jozef Suchoz\u030ca \u2013 Portfolio 11<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Tak nap\u0159\u00edklad jeden z ned\u00e1vn\u00fdch ro\u010dn\u00edk\u016f mezin\u00e1rodn\u00edho sympozia v ma\u010farsk\u00e9m Ceredu m\u011bl sjednocuj\u00edc\u00ed t\u00e9ma Odd\u011blen\u00e9 prostory \/ Separated spaces a pod\u00edleli se na n\u011bm tv\u016frci z po\u0159\u00e1daj\u00edc\u00edho Ma\u010farska, d\u00e1le z Finska, Rumunska, Slovenska a \u010cesk\u00e9 republiky. T\u00e9ma je dostate\u010dn\u011b metaforick\u00e9, ale i konkr\u00e9tn\u00ed, aby se mohlo st\u00e1t prostorem pro vyj\u00e1d\u0159en\u00ed soukrom\u00fdch, intimn\u00edch i spole\u010densk\u00fdch stav\u016f, akc\u00ed \u010di situac\u00ed. Samoz\u0159ejm\u011b by mohlo sv\u00e1d\u011bt k bezprost\u0159edn\u00ed reflexi tehdy vyhrocen\u00e9 situace uprchlick\u00e9 krize. Sucho\u017ea tak u\u010dinil s ironick\u00fdm, a\u017e sarkastick\u00fdm odstupem, mohlo by se zd\u00e1t a\u017e blasfemick\u00fdm, kdy\u017e p\u0159edstavil svou multiplikovanou sochu tradi\u010dn\u00ed evropsk\u00e9 stoj\u00edc\u00ed madony se sepjat\u00fdma rukama, le\u010d s nik\u00e1bem na hlav\u011b.<\/p>\n\n\n\n
To je jedna z lini\u00ed jeho aktu\u00e1ln\u00ed tvorby, kterou d\u00e1le rozv\u00edj\u00ed, kdy\u017e na re\u00e1ln\u00e9, materi\u00e1ln\u00ed \u00farovni kombinuje a spojuje p\u0159edm\u011bty typick\u00e9 pro r\u016fzn\u00e1 sv\u011btov\u00e1 n\u00e1bo\u017eenstv\u00ed. Tak strom \u017eivot, hebrejsky acej chajim, jsou d\u0159ev\u011bn\u00e9 v\u00e1lce s ozdobn\u00fdmi dr\u017eadly, na kter\u00fd je navinuta T\u00f3ra, tedy p\u011bt Knih Moj\u017e\u00ed\u0161ov\u00fdch Star\u00e9ho z\u00e1kona. Sucho\u017ea na n\u011b navine muslimsk\u00fd modlitebn\u00ed koberec\u2026 Tradi\u010dn\u00ed k\u0159es\u0165ansk\u00e9 klek\u00e1tko s podu\u0161kou pod lokty ur\u010den\u00e9 k soukrom\u00e9 intimn\u00ed modlitb\u011b opolstruje \u010dern\u00fdm sametem se zlat\u00fdm arabsk\u00fdm n\u00e1zvem All\u00e1hu Akbar. P\u0159echodem k druh\u00e9, paramilit\u00e1rn\u00ed \u010di pseudomilit\u00e1rn\u00ed tematick\u00e9 linii je so\u0161ka madony v nik\u00e1bu, stoj\u00edc\u00ed na zem\u011bkouli, jakoby v parodick\u00e9m a kontroverzn\u00edm inverzn\u00edm obr\u00e1cen\u00ed sekul\u00e1rn\u00ed ikony, trofeje pro mistry sv\u011bta v kopan\u00e9, kter\u00e1 od roku 1971 nahradila ukradenou Zlatou Nik\u00e9. A vlastn\u011b nestoj\u00ed, ale je horizont\u00e1ln\u011b ulo\u017eena do vojensk\u00e9 d\u0159ev\u011bn\u00e9 bedny v zelen\u00e9 barv\u011b, ur\u010den\u00e9 sp\u00ed\u0161e pro minometn\u00e9 st\u0159ely. To milit\u00e1rn\u00ed t\u00e9ma variuje i na jin\u00fdch sympozi\u00edch, nej\u010dast\u011bji zl\u00ednsk\u00e9m Panta Rhei (vojensk\u00e1 v\u00e1le\u010dn\u00e1 nos\u00edtka, jejich\u017e madla jsou osazena velk\u00fdmi r\u016f\u017eov\u00fdmi trny, jak zde nesly\u0161et ozv\u011bnu Josepha Beyuse\u2026). Na principu kontrastu a ne\u010dekan\u00fdch, provokativn\u00edch, a\u017e \u2013 jak ji\u017e \u0159e\u010deno \u2013 rouhav\u00fdch konfrontac\u00ed stav\u00ed vedle sebe a k sob\u011b sv\u011bty zcela nesourod\u00e9 \u2013 protitankov\u00e1 mina zdoben\u00e1 lidov\u00fdm ornamentem. D\u00e1rkov\u00e1 sada s ru\u010dn\u00ed \u00fato\u010dnou zbran\u00ed, ocelov\u00fdm boxerem nebo podivn\u00e1 zbra\u0148 tvo\u0159en\u00e1 \u017eulovou kostkou na d\u0159ev\u011bn\u00e9m madle. Jsme sv\u011bdky konfrontace dvou sv\u011bt\u016f, kter\u00e9 jsou ale nesourod\u00e9 jen zd\u00e1nliv\u011b, ony toti\u017e tady vedle n\u00e1s, v n\u00e1s, s n\u00e1mi denn\u011b jsou, spolupod\u00edl\u00ed se na celku na\u0161eho sv\u011bta, zneji\u0161\u0165uj\u00ed n\u00e1m jej, \u010din\u00ed jej nesamoz\u0159ejm\u00fdm, a tedy, paradoxn\u011b, jedin\u011b mo\u017en\u00fdm, re\u00e1ln\u00fdm, skute\u010dn\u00fdm.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Tak nap\u0159\u00edklad jeden z ned\u00e1vn\u00fdch ro\u010dn\u00edk\u016f mezin\u00e1rodn\u00edho sympozia v ma\u010farsk\u00e9m Ceredu m\u011bl sjednocuj\u00edc\u00ed t\u00e9ma Odd\u011blen\u00e9 prostory \/ Separated spaces a pod\u00edleli se na n\u011bm tv\u016frci z po\u0159\u00e1daj\u00edc\u00edho Ma\u010farska, d\u00e1le z Finska, Rumunska, Slovenska a \u010cesk\u00e9 republiky. T\u00e9ma je dostate\u010dn\u011b metaforick\u00e9, ale i konkr\u00e9tn\u00ed, aby se mohlo st\u00e1t prostorem pro vyj\u00e1d\u0159en\u00ed soukrom\u00fdch, intimn\u00edch i spole\u010densk\u00fdch stav\u016f, akc\u00ed \u010di situac\u00ed. Samoz\u0159ejm\u011b by mohlo sv\u00e1d\u011bt k bezprost\u0159edn\u00ed reflexi tehdy vyhrocen\u00e9 situace uprchlick\u00e9 krize. Sucho\u017ea tak u\u010dinil s ironick\u00fdm, a\u017e sarkastick\u00fdm odstupem, mohlo by se zd\u00e1t a\u017e blasfemick\u00fdm, kdy\u017e p\u0159edstavil svou multiplikovanou sochu tradi\u010dn\u00ed evropsk\u00e9 stoj\u00edc\u00ed madony se sepjat\u00fdma rukama, le\u010d s nik\u00e1bem na hlav\u011b.<\/p>\n\n\n\n
To je jedna z lini\u00ed jeho aktu\u00e1ln\u00ed tvorby, kterou d\u00e1le rozv\u00edj\u00ed, kdy\u017e na re\u00e1ln\u00e9, materi\u00e1ln\u00ed \u00farovni kombinuje a spojuje p\u0159edm\u011bty typick\u00e9 pro r\u016fzn\u00e1 sv\u011btov\u00e1 n\u00e1bo\u017eenstv\u00ed. Tak strom \u017eivot, hebrejsky acej chajim, jsou d\u0159ev\u011bn\u00e9 v\u00e1lce s ozdobn\u00fdmi dr\u017eadly, na kter\u00fd je navinuta T\u00f3ra, tedy p\u011bt Knih Moj\u017e\u00ed\u0161ov\u00fdch Star\u00e9ho z\u00e1kona. Sucho\u017ea na n\u011b navine muslimsk\u00fd modlitebn\u00ed koberec\u2026 Tradi\u010dn\u00ed k\u0159es\u0165ansk\u00e9 klek\u00e1tko s podu\u0161kou pod lokty ur\u010den\u00e9 k soukrom\u00e9 intimn\u00ed modlitb\u011b opolstruje \u010dern\u00fdm sametem se zlat\u00fdm arabsk\u00fdm n\u00e1zvem All\u00e1hu Akbar. P\u0159echodem k druh\u00e9, paramilit\u00e1rn\u00ed \u010di pseudomilit\u00e1rn\u00ed tematick\u00e9 linii je so\u0161ka madony v nik\u00e1bu, stoj\u00edc\u00ed na zem\u011bkouli, jakoby v parodick\u00e9m a kontroverzn\u00edm inverzn\u00edm obr\u00e1cen\u00ed sekul\u00e1rn\u00ed ikony, trofeje pro mistry sv\u011bta v kopan\u00e9, kter\u00e1 od roku 1971 nahradila ukradenou Zlatou Nik\u00e9. A vlastn\u011b nestoj\u00ed, ale je horizont\u00e1ln\u011b ulo\u017eena do vojensk\u00e9 d\u0159ev\u011bn\u00e9 bedny v zelen\u00e9 barv\u011b, ur\u010den\u00e9 sp\u00ed\u0161e pro minometn\u00e9 st\u0159ely. To milit\u00e1rn\u00ed t\u00e9ma variuje i na jin\u00fdch sympozi\u00edch, nej\u010dast\u011bji zl\u00ednsk\u00e9m Panta Rhei (vojensk\u00e1 v\u00e1le\u010dn\u00e1 nos\u00edtka, jejich\u017e madla jsou osazena velk\u00fdmi r\u016f\u017eov\u00fdmi trny, jak zde nesly\u0161et ozv\u011bnu Josepha Beyuse\u2026). Na principu kontrastu a ne\u010dekan\u00fdch, provokativn\u00edch, a\u017e \u2013 jak ji\u017e \u0159e\u010deno \u2013 rouhav\u00fdch konfrontac\u00ed stav\u00ed vedle sebe a k sob\u011b sv\u011bty zcela nesourod\u00e9 \u2013 protitankov\u00e1 mina zdoben\u00e1 lidov\u00fdm ornamentem. D\u00e1rkov\u00e1 sada s ru\u010dn\u00ed \u00fato\u010dnou zbran\u00ed, ocelov\u00fdm boxerem nebo podivn\u00e1 zbra\u0148 tvo\u0159en\u00e1 \u017eulovou kostkou na d\u0159ev\u011bn\u00e9m madle. Jsme sv\u011bdky konfrontace dvou sv\u011bt\u016f, kter\u00e9 jsou ale nesourod\u00e9 jen zd\u00e1nliv\u011b, ony toti\u017e tady vedle n\u00e1s, v n\u00e1s, s n\u00e1mi denn\u011b jsou, spolupod\u00edl\u00ed se na celku na\u0161eho sv\u011bta, zneji\u0161\u0165uj\u00ed n\u00e1m jej, \u010din\u00ed jej nesamoz\u0159ejm\u00fdm, a tedy, paradoxn\u011b, jedin\u011b mo\u017en\u00fdm, re\u00e1ln\u00fdm, skute\u010dn\u00fdm.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
\n <\/a> <\/div>\n<\/div>\n\n\n Jozef Suchoz\u030ca \u2013 Portfolio 12<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Tak nap\u0159\u00edklad jeden z ned\u00e1vn\u00fdch ro\u010dn\u00edk\u016f mezin\u00e1rodn\u00edho sympozia v ma\u010farsk\u00e9m Ceredu m\u011bl sjednocuj\u00edc\u00ed t\u00e9ma Odd\u011blen\u00e9 prostory \/ Separated spaces a pod\u00edleli se na n\u011bm tv\u016frci z po\u0159\u00e1daj\u00edc\u00edho Ma\u010farska, d\u00e1le z Finska, Rumunska, Slovenska a \u010cesk\u00e9 republiky. T\u00e9ma je dostate\u010dn\u011b metaforick\u00e9, ale i konkr\u00e9tn\u00ed, aby se mohlo st\u00e1t prostorem pro vyj\u00e1d\u0159en\u00ed soukrom\u00fdch, intimn\u00edch i spole\u010densk\u00fdch stav\u016f, akc\u00ed \u010di situac\u00ed. Samoz\u0159ejm\u011b by mohlo sv\u00e1d\u011bt k bezprost\u0159edn\u00ed reflexi tehdy vyhrocen\u00e9 situace uprchlick\u00e9 krize. Sucho\u017ea tak u\u010dinil s ironick\u00fdm, a\u017e sarkastick\u00fdm odstupem, mohlo by se zd\u00e1t a\u017e blasfemick\u00fdm, kdy\u017e p\u0159edstavil svou multiplikovanou sochu tradi\u010dn\u00ed evropsk\u00e9 stoj\u00edc\u00ed madony se sepjat\u00fdma rukama, le\u010d s nik\u00e1bem na hlav\u011b.<\/p>\n\n\n\n
To je jedna z lini\u00ed jeho aktu\u00e1ln\u00ed tvorby, kterou d\u00e1le rozv\u00edj\u00ed, kdy\u017e na re\u00e1ln\u00e9, materi\u00e1ln\u00ed \u00farovni kombinuje a spojuje p\u0159edm\u011bty typick\u00e9 pro r\u016fzn\u00e1 sv\u011btov\u00e1 n\u00e1bo\u017eenstv\u00ed. Tak strom \u017eivot, hebrejsky acej chajim, jsou d\u0159ev\u011bn\u00e9 v\u00e1lce s ozdobn\u00fdmi dr\u017eadly, na kter\u00fd je navinuta T\u00f3ra, tedy p\u011bt Knih Moj\u017e\u00ed\u0161ov\u00fdch Star\u00e9ho z\u00e1kona. Sucho\u017ea na n\u011b navine muslimsk\u00fd modlitebn\u00ed koberec\u2026 Tradi\u010dn\u00ed k\u0159es\u0165ansk\u00e9 klek\u00e1tko s podu\u0161kou pod lokty ur\u010den\u00e9 k soukrom\u00e9 intimn\u00ed modlitb\u011b opolstruje \u010dern\u00fdm sametem se zlat\u00fdm arabsk\u00fdm n\u00e1zvem All\u00e1hu Akbar. P\u0159echodem k druh\u00e9, paramilit\u00e1rn\u00ed \u010di pseudomilit\u00e1rn\u00ed tematick\u00e9 linii je so\u0161ka madony v nik\u00e1bu, stoj\u00edc\u00ed na zem\u011bkouli, jakoby v parodick\u00e9m a kontroverzn\u00edm inverzn\u00edm obr\u00e1cen\u00ed sekul\u00e1rn\u00ed ikony, trofeje pro mistry sv\u011bta v kopan\u00e9, kter\u00e1 od roku 1971 nahradila ukradenou Zlatou Nik\u00e9. A vlastn\u011b nestoj\u00ed, ale je horizont\u00e1ln\u011b ulo\u017eena do vojensk\u00e9 d\u0159ev\u011bn\u00e9 bedny v zelen\u00e9 barv\u011b, ur\u010den\u00e9 sp\u00ed\u0161e pro minometn\u00e9 st\u0159ely. To milit\u00e1rn\u00ed t\u00e9ma variuje i na jin\u00fdch sympozi\u00edch, nej\u010dast\u011bji zl\u00ednsk\u00e9m Panta Rhei (vojensk\u00e1 v\u00e1le\u010dn\u00e1 nos\u00edtka, jejich\u017e madla jsou osazena velk\u00fdmi r\u016f\u017eov\u00fdmi trny, jak zde nesly\u0161et ozv\u011bnu Josepha Beyuse\u2026). Na principu kontrastu a ne\u010dekan\u00fdch, provokativn\u00edch, a\u017e \u2013 jak ji\u017e \u0159e\u010deno \u2013 rouhav\u00fdch konfrontac\u00ed stav\u00ed vedle sebe a k sob\u011b sv\u011bty zcela nesourod\u00e9 \u2013 protitankov\u00e1 mina zdoben\u00e1 lidov\u00fdm ornamentem. D\u00e1rkov\u00e1 sada s ru\u010dn\u00ed \u00fato\u010dnou zbran\u00ed, ocelov\u00fdm boxerem nebo podivn\u00e1 zbra\u0148 tvo\u0159en\u00e1 \u017eulovou kostkou na d\u0159ev\u011bn\u00e9m madle. Jsme sv\u011bdky konfrontace dvou sv\u011bt\u016f, kter\u00e9 jsou ale nesourod\u00e9 jen zd\u00e1nliv\u011b, ony toti\u017e tady vedle n\u00e1s, v n\u00e1s, s n\u00e1mi denn\u011b jsou, spolupod\u00edl\u00ed se na celku na\u0161eho sv\u011bta, zneji\u0161\u0165uj\u00ed n\u00e1m jej, \u010din\u00ed jej nesamoz\u0159ejm\u00fdm, a tedy, paradoxn\u011b, jedin\u011b mo\u017en\u00fdm, re\u00e1ln\u00fdm, skute\u010dn\u00fdm.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Tak nap\u0159\u00edklad jeden z ned\u00e1vn\u00fdch ro\u010dn\u00edk\u016f mezin\u00e1rodn\u00edho sympozia v ma\u010farsk\u00e9m Ceredu m\u011bl sjednocuj\u00edc\u00ed t\u00e9ma Odd\u011blen\u00e9 prostory \/ Separated spaces a pod\u00edleli se na n\u011bm tv\u016frci z po\u0159\u00e1daj\u00edc\u00edho Ma\u010farska, d\u00e1le z Finska, Rumunska, Slovenska a \u010cesk\u00e9 republiky. T\u00e9ma je dostate\u010dn\u011b metaforick\u00e9, ale i konkr\u00e9tn\u00ed, aby se mohlo st\u00e1t prostorem pro vyj\u00e1d\u0159en\u00ed soukrom\u00fdch, intimn\u00edch i spole\u010densk\u00fdch stav\u016f, akc\u00ed \u010di situac\u00ed. Samoz\u0159ejm\u011b by mohlo sv\u00e1d\u011bt k bezprost\u0159edn\u00ed reflexi tehdy vyhrocen\u00e9 situace uprchlick\u00e9 krize. Sucho\u017ea tak u\u010dinil s ironick\u00fdm, a\u017e sarkastick\u00fdm odstupem, mohlo by se zd\u00e1t a\u017e blasfemick\u00fdm, kdy\u017e p\u0159edstavil svou multiplikovanou sochu tradi\u010dn\u00ed evropsk\u00e9 stoj\u00edc\u00ed madony se sepjat\u00fdma rukama, le\u010d s nik\u00e1bem na hlav\u011b.<\/p>\n\n\n\n
To je jedna z lini\u00ed jeho aktu\u00e1ln\u00ed tvorby, kterou d\u00e1le rozv\u00edj\u00ed, kdy\u017e na re\u00e1ln\u00e9, materi\u00e1ln\u00ed \u00farovni kombinuje a spojuje p\u0159edm\u011bty typick\u00e9 pro r\u016fzn\u00e1 sv\u011btov\u00e1 n\u00e1bo\u017eenstv\u00ed. Tak strom \u017eivot, hebrejsky acej chajim, jsou d\u0159ev\u011bn\u00e9 v\u00e1lce s ozdobn\u00fdmi dr\u017eadly, na kter\u00fd je navinuta T\u00f3ra, tedy p\u011bt Knih Moj\u017e\u00ed\u0161ov\u00fdch Star\u00e9ho z\u00e1kona. Sucho\u017ea na n\u011b navine muslimsk\u00fd modlitebn\u00ed koberec\u2026 Tradi\u010dn\u00ed k\u0159es\u0165ansk\u00e9 klek\u00e1tko s podu\u0161kou pod lokty ur\u010den\u00e9 k soukrom\u00e9 intimn\u00ed modlitb\u011b opolstruje \u010dern\u00fdm sametem se zlat\u00fdm arabsk\u00fdm n\u00e1zvem All\u00e1hu Akbar. P\u0159echodem k druh\u00e9, paramilit\u00e1rn\u00ed \u010di pseudomilit\u00e1rn\u00ed tematick\u00e9 linii je so\u0161ka madony v nik\u00e1bu, stoj\u00edc\u00ed na zem\u011bkouli, jakoby v parodick\u00e9m a kontroverzn\u00edm inverzn\u00edm obr\u00e1cen\u00ed sekul\u00e1rn\u00ed ikony, trofeje pro mistry sv\u011bta v kopan\u00e9, kter\u00e1 od roku 1971 nahradila ukradenou Zlatou Nik\u00e9. A vlastn\u011b nestoj\u00ed, ale je horizont\u00e1ln\u011b ulo\u017eena do vojensk\u00e9 d\u0159ev\u011bn\u00e9 bedny v zelen\u00e9 barv\u011b, ur\u010den\u00e9 sp\u00ed\u0161e pro minometn\u00e9 st\u0159ely. To milit\u00e1rn\u00ed t\u00e9ma variuje i na jin\u00fdch sympozi\u00edch, nej\u010dast\u011bji zl\u00ednsk\u00e9m Panta Rhei (vojensk\u00e1 v\u00e1le\u010dn\u00e1 nos\u00edtka, jejich\u017e madla jsou osazena velk\u00fdmi r\u016f\u017eov\u00fdmi trny, jak zde nesly\u0161et ozv\u011bnu Josepha Beyuse\u2026). Na principu kontrastu a ne\u010dekan\u00fdch, provokativn\u00edch, a\u017e \u2013 jak ji\u017e \u0159e\u010deno \u2013 rouhav\u00fdch konfrontac\u00ed stav\u00ed vedle sebe a k sob\u011b sv\u011bty zcela nesourod\u00e9 \u2013 protitankov\u00e1 mina zdoben\u00e1 lidov\u00fdm ornamentem. D\u00e1rkov\u00e1 sada s ru\u010dn\u00ed \u00fato\u010dnou zbran\u00ed, ocelov\u00fdm boxerem nebo podivn\u00e1 zbra\u0148 tvo\u0159en\u00e1 \u017eulovou kostkou na d\u0159ev\u011bn\u00e9m madle. Jsme sv\u011bdky konfrontace dvou sv\u011bt\u016f, kter\u00e9 jsou ale nesourod\u00e9 jen zd\u00e1nliv\u011b, ony toti\u017e tady vedle n\u00e1s, v n\u00e1s, s n\u00e1mi denn\u011b jsou, spolupod\u00edl\u00ed se na celku na\u0161eho sv\u011bta, zneji\u0161\u0165uj\u00ed n\u00e1m jej, \u010din\u00ed jej nesamoz\u0159ejm\u00fdm, a tedy, paradoxn\u011b, jedin\u011b mo\u017en\u00fdm, re\u00e1ln\u00fdm, skute\u010dn\u00fdm.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
\n <\/a> <\/div>\n<\/div>\n\n\n Jozef Suchoz\u030ca \u2013 Portfolio 13<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Tak nap\u0159\u00edklad jeden z ned\u00e1vn\u00fdch ro\u010dn\u00edk\u016f mezin\u00e1rodn\u00edho sympozia v ma\u010farsk\u00e9m Ceredu m\u011bl sjednocuj\u00edc\u00ed t\u00e9ma Odd\u011blen\u00e9 prostory \/ Separated spaces a pod\u00edleli se na n\u011bm tv\u016frci z po\u0159\u00e1daj\u00edc\u00edho Ma\u010farska, d\u00e1le z Finska, Rumunska, Slovenska a \u010cesk\u00e9 republiky. T\u00e9ma je dostate\u010dn\u011b metaforick\u00e9, ale i konkr\u00e9tn\u00ed, aby se mohlo st\u00e1t prostorem pro vyj\u00e1d\u0159en\u00ed soukrom\u00fdch, intimn\u00edch i spole\u010densk\u00fdch stav\u016f, akc\u00ed \u010di situac\u00ed. Samoz\u0159ejm\u011b by mohlo sv\u00e1d\u011bt k bezprost\u0159edn\u00ed reflexi tehdy vyhrocen\u00e9 situace uprchlick\u00e9 krize. Sucho\u017ea tak u\u010dinil s ironick\u00fdm, a\u017e sarkastick\u00fdm odstupem, mohlo by se zd\u00e1t a\u017e blasfemick\u00fdm, kdy\u017e p\u0159edstavil svou multiplikovanou sochu tradi\u010dn\u00ed evropsk\u00e9 stoj\u00edc\u00ed madony se sepjat\u00fdma rukama, le\u010d s nik\u00e1bem na hlav\u011b.<\/p>\n\n\n\n
To je jedna z lini\u00ed jeho aktu\u00e1ln\u00ed tvorby, kterou d\u00e1le rozv\u00edj\u00ed, kdy\u017e na re\u00e1ln\u00e9, materi\u00e1ln\u00ed \u00farovni kombinuje a spojuje p\u0159edm\u011bty typick\u00e9 pro r\u016fzn\u00e1 sv\u011btov\u00e1 n\u00e1bo\u017eenstv\u00ed. Tak strom \u017eivot, hebrejsky acej chajim, jsou d\u0159ev\u011bn\u00e9 v\u00e1lce s ozdobn\u00fdmi dr\u017eadly, na kter\u00fd je navinuta T\u00f3ra, tedy p\u011bt Knih Moj\u017e\u00ed\u0161ov\u00fdch Star\u00e9ho z\u00e1kona. Sucho\u017ea na n\u011b navine muslimsk\u00fd modlitebn\u00ed koberec\u2026 Tradi\u010dn\u00ed k\u0159es\u0165ansk\u00e9 klek\u00e1tko s podu\u0161kou pod lokty ur\u010den\u00e9 k soukrom\u00e9 intimn\u00ed modlitb\u011b opolstruje \u010dern\u00fdm sametem se zlat\u00fdm arabsk\u00fdm n\u00e1zvem All\u00e1hu Akbar. P\u0159echodem k druh\u00e9, paramilit\u00e1rn\u00ed \u010di pseudomilit\u00e1rn\u00ed tematick\u00e9 linii je so\u0161ka madony v nik\u00e1bu, stoj\u00edc\u00ed na zem\u011bkouli, jakoby v parodick\u00e9m a kontroverzn\u00edm inverzn\u00edm obr\u00e1cen\u00ed sekul\u00e1rn\u00ed ikony, trofeje pro mistry sv\u011bta v kopan\u00e9, kter\u00e1 od roku 1971 nahradila ukradenou Zlatou Nik\u00e9. A vlastn\u011b nestoj\u00ed, ale je horizont\u00e1ln\u011b ulo\u017eena do vojensk\u00e9 d\u0159ev\u011bn\u00e9 bedny v zelen\u00e9 barv\u011b, ur\u010den\u00e9 sp\u00ed\u0161e pro minometn\u00e9 st\u0159ely. To milit\u00e1rn\u00ed t\u00e9ma variuje i na jin\u00fdch sympozi\u00edch, nej\u010dast\u011bji zl\u00ednsk\u00e9m Panta Rhei (vojensk\u00e1 v\u00e1le\u010dn\u00e1 nos\u00edtka, jejich\u017e madla jsou osazena velk\u00fdmi r\u016f\u017eov\u00fdmi trny, jak zde nesly\u0161et ozv\u011bnu Josepha Beyuse\u2026). Na principu kontrastu a ne\u010dekan\u00fdch, provokativn\u00edch, a\u017e \u2013 jak ji\u017e \u0159e\u010deno \u2013 rouhav\u00fdch konfrontac\u00ed stav\u00ed vedle sebe a k sob\u011b sv\u011bty zcela nesourod\u00e9 \u2013 protitankov\u00e1 mina zdoben\u00e1 lidov\u00fdm ornamentem. D\u00e1rkov\u00e1 sada s ru\u010dn\u00ed \u00fato\u010dnou zbran\u00ed, ocelov\u00fdm boxerem nebo podivn\u00e1 zbra\u0148 tvo\u0159en\u00e1 \u017eulovou kostkou na d\u0159ev\u011bn\u00e9m madle. Jsme sv\u011bdky konfrontace dvou sv\u011bt\u016f, kter\u00e9 jsou ale nesourod\u00e9 jen zd\u00e1nliv\u011b, ony toti\u017e tady vedle n\u00e1s, v n\u00e1s, s n\u00e1mi denn\u011b jsou, spolupod\u00edl\u00ed se na celku na\u0161eho sv\u011bta, zneji\u0161\u0165uj\u00ed n\u00e1m jej, \u010din\u00ed jej nesamoz\u0159ejm\u00fdm, a tedy, paradoxn\u011b, jedin\u011b mo\u017en\u00fdm, re\u00e1ln\u00fdm, skute\u010dn\u00fdm.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Tak nap\u0159\u00edklad jeden z ned\u00e1vn\u00fdch ro\u010dn\u00edk\u016f mezin\u00e1rodn\u00edho sympozia v ma\u010farsk\u00e9m Ceredu m\u011bl sjednocuj\u00edc\u00ed t\u00e9ma Odd\u011blen\u00e9 prostory \/ Separated spaces a pod\u00edleli se na n\u011bm tv\u016frci z po\u0159\u00e1daj\u00edc\u00edho Ma\u010farska, d\u00e1le z Finska, Rumunska, Slovenska a \u010cesk\u00e9 republiky. T\u00e9ma je dostate\u010dn\u011b metaforick\u00e9, ale i konkr\u00e9tn\u00ed, aby se mohlo st\u00e1t prostorem pro vyj\u00e1d\u0159en\u00ed soukrom\u00fdch, intimn\u00edch i spole\u010densk\u00fdch stav\u016f, akc\u00ed \u010di situac\u00ed. Samoz\u0159ejm\u011b by mohlo sv\u00e1d\u011bt k bezprost\u0159edn\u00ed reflexi tehdy vyhrocen\u00e9 situace uprchlick\u00e9 krize. Sucho\u017ea tak u\u010dinil s ironick\u00fdm, a\u017e sarkastick\u00fdm odstupem, mohlo by se zd\u00e1t a\u017e blasfemick\u00fdm, kdy\u017e p\u0159edstavil svou multiplikovanou sochu tradi\u010dn\u00ed evropsk\u00e9 stoj\u00edc\u00ed madony se sepjat\u00fdma rukama, le\u010d s nik\u00e1bem na hlav\u011b.<\/p>\n\n\n\n
To je jedna z lini\u00ed jeho aktu\u00e1ln\u00ed tvorby, kterou d\u00e1le rozv\u00edj\u00ed, kdy\u017e na re\u00e1ln\u00e9, materi\u00e1ln\u00ed \u00farovni kombinuje a spojuje p\u0159edm\u011bty typick\u00e9 pro r\u016fzn\u00e1 sv\u011btov\u00e1 n\u00e1bo\u017eenstv\u00ed. Tak strom \u017eivot, hebrejsky acej chajim, jsou d\u0159ev\u011bn\u00e9 v\u00e1lce s ozdobn\u00fdmi dr\u017eadly, na kter\u00fd je navinuta T\u00f3ra, tedy p\u011bt Knih Moj\u017e\u00ed\u0161ov\u00fdch Star\u00e9ho z\u00e1kona. Sucho\u017ea na n\u011b navine muslimsk\u00fd modlitebn\u00ed koberec\u2026 Tradi\u010dn\u00ed k\u0159es\u0165ansk\u00e9 klek\u00e1tko s podu\u0161kou pod lokty ur\u010den\u00e9 k soukrom\u00e9 intimn\u00ed modlitb\u011b opolstruje \u010dern\u00fdm sametem se zlat\u00fdm arabsk\u00fdm n\u00e1zvem All\u00e1hu Akbar. P\u0159echodem k druh\u00e9, paramilit\u00e1rn\u00ed \u010di pseudomilit\u00e1rn\u00ed tematick\u00e9 linii je so\u0161ka madony v nik\u00e1bu, stoj\u00edc\u00ed na zem\u011bkouli, jakoby v parodick\u00e9m a kontroverzn\u00edm inverzn\u00edm obr\u00e1cen\u00ed sekul\u00e1rn\u00ed ikony, trofeje pro mistry sv\u011bta v kopan\u00e9, kter\u00e1 od roku 1971 nahradila ukradenou Zlatou Nik\u00e9. A vlastn\u011b nestoj\u00ed, ale je horizont\u00e1ln\u011b ulo\u017eena do vojensk\u00e9 d\u0159ev\u011bn\u00e9 bedny v zelen\u00e9 barv\u011b, ur\u010den\u00e9 sp\u00ed\u0161e pro minometn\u00e9 st\u0159ely. To milit\u00e1rn\u00ed t\u00e9ma variuje i na jin\u00fdch sympozi\u00edch, nej\u010dast\u011bji zl\u00ednsk\u00e9m Panta Rhei (vojensk\u00e1 v\u00e1le\u010dn\u00e1 nos\u00edtka, jejich\u017e madla jsou osazena velk\u00fdmi r\u016f\u017eov\u00fdmi trny, jak zde nesly\u0161et ozv\u011bnu Josepha Beyuse\u2026). Na principu kontrastu a ne\u010dekan\u00fdch, provokativn\u00edch, a\u017e \u2013 jak ji\u017e \u0159e\u010deno \u2013 rouhav\u00fdch konfrontac\u00ed stav\u00ed vedle sebe a k sob\u011b sv\u011bty zcela nesourod\u00e9 \u2013 protitankov\u00e1 mina zdoben\u00e1 lidov\u00fdm ornamentem. D\u00e1rkov\u00e1 sada s ru\u010dn\u00ed \u00fato\u010dnou zbran\u00ed, ocelov\u00fdm boxerem nebo podivn\u00e1 zbra\u0148 tvo\u0159en\u00e1 \u017eulovou kostkou na d\u0159ev\u011bn\u00e9m madle. Jsme sv\u011bdky konfrontace dvou sv\u011bt\u016f, kter\u00e9 jsou ale nesourod\u00e9 jen zd\u00e1nliv\u011b, ony toti\u017e tady vedle n\u00e1s, v n\u00e1s, s n\u00e1mi denn\u011b jsou, spolupod\u00edl\u00ed se na celku na\u0161eho sv\u011bta, zneji\u0161\u0165uj\u00ed n\u00e1m jej, \u010din\u00ed jej nesamoz\u0159ejm\u00fdm, a tedy, paradoxn\u011b, jedin\u011b mo\u017en\u00fdm, re\u00e1ln\u00fdm, skute\u010dn\u00fdm.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
\n <\/a> <\/div>\n<\/div>\n\n\n Jozef Suchoz\u030ca \u2013 Portfolio 14<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Tak nap\u0159\u00edklad jeden z ned\u00e1vn\u00fdch ro\u010dn\u00edk\u016f mezin\u00e1rodn\u00edho sympozia v ma\u010farsk\u00e9m Ceredu m\u011bl sjednocuj\u00edc\u00ed t\u00e9ma Odd\u011blen\u00e9 prostory \/ Separated spaces a pod\u00edleli se na n\u011bm tv\u016frci z po\u0159\u00e1daj\u00edc\u00edho Ma\u010farska, d\u00e1le z Finska, Rumunska, Slovenska a \u010cesk\u00e9 republiky. T\u00e9ma je dostate\u010dn\u011b metaforick\u00e9, ale i konkr\u00e9tn\u00ed, aby se mohlo st\u00e1t prostorem pro vyj\u00e1d\u0159en\u00ed soukrom\u00fdch, intimn\u00edch i spole\u010densk\u00fdch stav\u016f, akc\u00ed \u010di situac\u00ed. Samoz\u0159ejm\u011b by mohlo sv\u00e1d\u011bt k bezprost\u0159edn\u00ed reflexi tehdy vyhrocen\u00e9 situace uprchlick\u00e9 krize. Sucho\u017ea tak u\u010dinil s ironick\u00fdm, a\u017e sarkastick\u00fdm odstupem, mohlo by se zd\u00e1t a\u017e blasfemick\u00fdm, kdy\u017e p\u0159edstavil svou multiplikovanou sochu tradi\u010dn\u00ed evropsk\u00e9 stoj\u00edc\u00ed madony se sepjat\u00fdma rukama, le\u010d s nik\u00e1bem na hlav\u011b.<\/p>\n\n\n\n
To je jedna z lini\u00ed jeho aktu\u00e1ln\u00ed tvorby, kterou d\u00e1le rozv\u00edj\u00ed, kdy\u017e na re\u00e1ln\u00e9, materi\u00e1ln\u00ed \u00farovni kombinuje a spojuje p\u0159edm\u011bty typick\u00e9 pro r\u016fzn\u00e1 sv\u011btov\u00e1 n\u00e1bo\u017eenstv\u00ed. Tak strom \u017eivot, hebrejsky acej chajim, jsou d\u0159ev\u011bn\u00e9 v\u00e1lce s ozdobn\u00fdmi dr\u017eadly, na kter\u00fd je navinuta T\u00f3ra, tedy p\u011bt Knih Moj\u017e\u00ed\u0161ov\u00fdch Star\u00e9ho z\u00e1kona. Sucho\u017ea na n\u011b navine muslimsk\u00fd modlitebn\u00ed koberec\u2026 Tradi\u010dn\u00ed k\u0159es\u0165ansk\u00e9 klek\u00e1tko s podu\u0161kou pod lokty ur\u010den\u00e9 k soukrom\u00e9 intimn\u00ed modlitb\u011b opolstruje \u010dern\u00fdm sametem se zlat\u00fdm arabsk\u00fdm n\u00e1zvem All\u00e1hu Akbar. P\u0159echodem k druh\u00e9, paramilit\u00e1rn\u00ed \u010di pseudomilit\u00e1rn\u00ed tematick\u00e9 linii je so\u0161ka madony v nik\u00e1bu, stoj\u00edc\u00ed na zem\u011bkouli, jakoby v parodick\u00e9m a kontroverzn\u00edm inverzn\u00edm obr\u00e1cen\u00ed sekul\u00e1rn\u00ed ikony, trofeje pro mistry sv\u011bta v kopan\u00e9, kter\u00e1 od roku 1971 nahradila ukradenou Zlatou Nik\u00e9. A vlastn\u011b nestoj\u00ed, ale je horizont\u00e1ln\u011b ulo\u017eena do vojensk\u00e9 d\u0159ev\u011bn\u00e9 bedny v zelen\u00e9 barv\u011b, ur\u010den\u00e9 sp\u00ed\u0161e pro minometn\u00e9 st\u0159ely. To milit\u00e1rn\u00ed t\u00e9ma variuje i na jin\u00fdch sympozi\u00edch, nej\u010dast\u011bji zl\u00ednsk\u00e9m Panta Rhei (vojensk\u00e1 v\u00e1le\u010dn\u00e1 nos\u00edtka, jejich\u017e madla jsou osazena velk\u00fdmi r\u016f\u017eov\u00fdmi trny, jak zde nesly\u0161et ozv\u011bnu Josepha Beyuse\u2026). Na principu kontrastu a ne\u010dekan\u00fdch, provokativn\u00edch, a\u017e \u2013 jak ji\u017e \u0159e\u010deno \u2013 rouhav\u00fdch konfrontac\u00ed stav\u00ed vedle sebe a k sob\u011b sv\u011bty zcela nesourod\u00e9 \u2013 protitankov\u00e1 mina zdoben\u00e1 lidov\u00fdm ornamentem. D\u00e1rkov\u00e1 sada s ru\u010dn\u00ed \u00fato\u010dnou zbran\u00ed, ocelov\u00fdm boxerem nebo podivn\u00e1 zbra\u0148 tvo\u0159en\u00e1 \u017eulovou kostkou na d\u0159ev\u011bn\u00e9m madle. Jsme sv\u011bdky konfrontace dvou sv\u011bt\u016f, kter\u00e9 jsou ale nesourod\u00e9 jen zd\u00e1nliv\u011b, ony toti\u017e tady vedle n\u00e1s, v n\u00e1s, s n\u00e1mi denn\u011b jsou, spolupod\u00edl\u00ed se na celku na\u0161eho sv\u011bta, zneji\u0161\u0165uj\u00ed n\u00e1m jej, \u010din\u00ed jej nesamoz\u0159ejm\u00fdm, a tedy, paradoxn\u011b, jedin\u011b mo\u017en\u00fdm, re\u00e1ln\u00fdm, skute\u010dn\u00fdm.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Tak nap\u0159\u00edklad jeden z ned\u00e1vn\u00fdch ro\u010dn\u00edk\u016f mezin\u00e1rodn\u00edho sympozia v ma\u010farsk\u00e9m Ceredu m\u011bl sjednocuj\u00edc\u00ed t\u00e9ma Odd\u011blen\u00e9 prostory \/ Separated spaces a pod\u00edleli se na n\u011bm tv\u016frci z po\u0159\u00e1daj\u00edc\u00edho Ma\u010farska, d\u00e1le z Finska, Rumunska, Slovenska a \u010cesk\u00e9 republiky. T\u00e9ma je dostate\u010dn\u011b metaforick\u00e9, ale i konkr\u00e9tn\u00ed, aby se mohlo st\u00e1t prostorem pro vyj\u00e1d\u0159en\u00ed soukrom\u00fdch, intimn\u00edch i spole\u010densk\u00fdch stav\u016f, akc\u00ed \u010di situac\u00ed. Samoz\u0159ejm\u011b by mohlo sv\u00e1d\u011bt k bezprost\u0159edn\u00ed reflexi tehdy vyhrocen\u00e9 situace uprchlick\u00e9 krize. Sucho\u017ea tak u\u010dinil s ironick\u00fdm, a\u017e sarkastick\u00fdm odstupem, mohlo by se zd\u00e1t a\u017e blasfemick\u00fdm, kdy\u017e p\u0159edstavil svou multiplikovanou sochu tradi\u010dn\u00ed evropsk\u00e9 stoj\u00edc\u00ed madony se sepjat\u00fdma rukama, le\u010d s nik\u00e1bem na hlav\u011b.<\/p>\n\n\n\n
To je jedna z lini\u00ed jeho aktu\u00e1ln\u00ed tvorby, kterou d\u00e1le rozv\u00edj\u00ed, kdy\u017e na re\u00e1ln\u00e9, materi\u00e1ln\u00ed \u00farovni kombinuje a spojuje p\u0159edm\u011bty typick\u00e9 pro r\u016fzn\u00e1 sv\u011btov\u00e1 n\u00e1bo\u017eenstv\u00ed. Tak strom \u017eivot, hebrejsky acej chajim, jsou d\u0159ev\u011bn\u00e9 v\u00e1lce s ozdobn\u00fdmi dr\u017eadly, na kter\u00fd je navinuta T\u00f3ra, tedy p\u011bt Knih Moj\u017e\u00ed\u0161ov\u00fdch Star\u00e9ho z\u00e1kona. Sucho\u017ea na n\u011b navine muslimsk\u00fd modlitebn\u00ed koberec\u2026 Tradi\u010dn\u00ed k\u0159es\u0165ansk\u00e9 klek\u00e1tko s podu\u0161kou pod lokty ur\u010den\u00e9 k soukrom\u00e9 intimn\u00ed modlitb\u011b opolstruje \u010dern\u00fdm sametem se zlat\u00fdm arabsk\u00fdm n\u00e1zvem All\u00e1hu Akbar. P\u0159echodem k druh\u00e9, paramilit\u00e1rn\u00ed \u010di pseudomilit\u00e1rn\u00ed tematick\u00e9 linii je so\u0161ka madony v nik\u00e1bu, stoj\u00edc\u00ed na zem\u011bkouli, jakoby v parodick\u00e9m a kontroverzn\u00edm inverzn\u00edm obr\u00e1cen\u00ed sekul\u00e1rn\u00ed ikony, trofeje pro mistry sv\u011bta v kopan\u00e9, kter\u00e1 od roku 1971 nahradila ukradenou Zlatou Nik\u00e9. A vlastn\u011b nestoj\u00ed, ale je horizont\u00e1ln\u011b ulo\u017eena do vojensk\u00e9 d\u0159ev\u011bn\u00e9 bedny v zelen\u00e9 barv\u011b, ur\u010den\u00e9 sp\u00ed\u0161e pro minometn\u00e9 st\u0159ely. To milit\u00e1rn\u00ed t\u00e9ma variuje i na jin\u00fdch sympozi\u00edch, nej\u010dast\u011bji zl\u00ednsk\u00e9m Panta Rhei (vojensk\u00e1 v\u00e1le\u010dn\u00e1 nos\u00edtka, jejich\u017e madla jsou osazena velk\u00fdmi r\u016f\u017eov\u00fdmi trny, jak zde nesly\u0161et ozv\u011bnu Josepha Beyuse\u2026). Na principu kontrastu a ne\u010dekan\u00fdch, provokativn\u00edch, a\u017e \u2013 jak ji\u017e \u0159e\u010deno \u2013 rouhav\u00fdch konfrontac\u00ed stav\u00ed vedle sebe a k sob\u011b sv\u011bty zcela nesourod\u00e9 \u2013 protitankov\u00e1 mina zdoben\u00e1 lidov\u00fdm ornamentem. D\u00e1rkov\u00e1 sada s ru\u010dn\u00ed \u00fato\u010dnou zbran\u00ed, ocelov\u00fdm boxerem nebo podivn\u00e1 zbra\u0148 tvo\u0159en\u00e1 \u017eulovou kostkou na d\u0159ev\u011bn\u00e9m madle. Jsme sv\u011bdky konfrontace dvou sv\u011bt\u016f, kter\u00e9 jsou ale nesourod\u00e9 jen zd\u00e1nliv\u011b, ony toti\u017e tady vedle n\u00e1s, v n\u00e1s, s n\u00e1mi denn\u011b jsou, spolupod\u00edl\u00ed se na celku na\u0161eho sv\u011bta, zneji\u0161\u0165uj\u00ed n\u00e1m jej, \u010din\u00ed jej nesamoz\u0159ejm\u00fdm, a tedy, paradoxn\u011b, jedin\u011b mo\u017en\u00fdm, re\u00e1ln\u00fdm, skute\u010dn\u00fdm.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
\n <\/a> <\/div>\n<\/div>\n\n\n Jozef Suchoz\u030ca \u2013 Portfolio 15<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Tak nap\u0159\u00edklad jeden z ned\u00e1vn\u00fdch ro\u010dn\u00edk\u016f mezin\u00e1rodn\u00edho sympozia v ma\u010farsk\u00e9m Ceredu m\u011bl sjednocuj\u00edc\u00ed t\u00e9ma Odd\u011blen\u00e9 prostory \/ Separated spaces a pod\u00edleli se na n\u011bm tv\u016frci z po\u0159\u00e1daj\u00edc\u00edho Ma\u010farska, d\u00e1le z Finska, Rumunska, Slovenska a \u010cesk\u00e9 republiky. T\u00e9ma je dostate\u010dn\u011b metaforick\u00e9, ale i konkr\u00e9tn\u00ed, aby se mohlo st\u00e1t prostorem pro vyj\u00e1d\u0159en\u00ed soukrom\u00fdch, intimn\u00edch i spole\u010densk\u00fdch stav\u016f, akc\u00ed \u010di situac\u00ed. Samoz\u0159ejm\u011b by mohlo sv\u00e1d\u011bt k bezprost\u0159edn\u00ed reflexi tehdy vyhrocen\u00e9 situace uprchlick\u00e9 krize. Sucho\u017ea tak u\u010dinil s ironick\u00fdm, a\u017e sarkastick\u00fdm odstupem, mohlo by se zd\u00e1t a\u017e blasfemick\u00fdm, kdy\u017e p\u0159edstavil svou multiplikovanou sochu tradi\u010dn\u00ed evropsk\u00e9 stoj\u00edc\u00ed madony se sepjat\u00fdma rukama, le\u010d s nik\u00e1bem na hlav\u011b.<\/p>\n\n\n\n
To je jedna z lini\u00ed jeho aktu\u00e1ln\u00ed tvorby, kterou d\u00e1le rozv\u00edj\u00ed, kdy\u017e na re\u00e1ln\u00e9, materi\u00e1ln\u00ed \u00farovni kombinuje a spojuje p\u0159edm\u011bty typick\u00e9 pro r\u016fzn\u00e1 sv\u011btov\u00e1 n\u00e1bo\u017eenstv\u00ed. Tak strom \u017eivot, hebrejsky acej chajim, jsou d\u0159ev\u011bn\u00e9 v\u00e1lce s ozdobn\u00fdmi dr\u017eadly, na kter\u00fd je navinuta T\u00f3ra, tedy p\u011bt Knih Moj\u017e\u00ed\u0161ov\u00fdch Star\u00e9ho z\u00e1kona. Sucho\u017ea na n\u011b navine muslimsk\u00fd modlitebn\u00ed koberec\u2026 Tradi\u010dn\u00ed k\u0159es\u0165ansk\u00e9 klek\u00e1tko s podu\u0161kou pod lokty ur\u010den\u00e9 k soukrom\u00e9 intimn\u00ed modlitb\u011b opolstruje \u010dern\u00fdm sametem se zlat\u00fdm arabsk\u00fdm n\u00e1zvem All\u00e1hu Akbar. P\u0159echodem k druh\u00e9, paramilit\u00e1rn\u00ed \u010di pseudomilit\u00e1rn\u00ed tematick\u00e9 linii je so\u0161ka madony v nik\u00e1bu, stoj\u00edc\u00ed na zem\u011bkouli, jakoby v parodick\u00e9m a kontroverzn\u00edm inverzn\u00edm obr\u00e1cen\u00ed sekul\u00e1rn\u00ed ikony, trofeje pro mistry sv\u011bta v kopan\u00e9, kter\u00e1 od roku 1971 nahradila ukradenou Zlatou Nik\u00e9. A vlastn\u011b nestoj\u00ed, ale je horizont\u00e1ln\u011b ulo\u017eena do vojensk\u00e9 d\u0159ev\u011bn\u00e9 bedny v zelen\u00e9 barv\u011b, ur\u010den\u00e9 sp\u00ed\u0161e pro minometn\u00e9 st\u0159ely. To milit\u00e1rn\u00ed t\u00e9ma variuje i na jin\u00fdch sympozi\u00edch, nej\u010dast\u011bji zl\u00ednsk\u00e9m Panta Rhei (vojensk\u00e1 v\u00e1le\u010dn\u00e1 nos\u00edtka, jejich\u017e madla jsou osazena velk\u00fdmi r\u016f\u017eov\u00fdmi trny, jak zde nesly\u0161et ozv\u011bnu Josepha Beyuse\u2026). Na principu kontrastu a ne\u010dekan\u00fdch, provokativn\u00edch, a\u017e \u2013 jak ji\u017e \u0159e\u010deno \u2013 rouhav\u00fdch konfrontac\u00ed stav\u00ed vedle sebe a k sob\u011b sv\u011bty zcela nesourod\u00e9 \u2013 protitankov\u00e1 mina zdoben\u00e1 lidov\u00fdm ornamentem. D\u00e1rkov\u00e1 sada s ru\u010dn\u00ed \u00fato\u010dnou zbran\u00ed, ocelov\u00fdm boxerem nebo podivn\u00e1 zbra\u0148 tvo\u0159en\u00e1 \u017eulovou kostkou na d\u0159ev\u011bn\u00e9m madle. Jsme sv\u011bdky konfrontace dvou sv\u011bt\u016f, kter\u00e9 jsou ale nesourod\u00e9 jen zd\u00e1nliv\u011b, ony toti\u017e tady vedle n\u00e1s, v n\u00e1s, s n\u00e1mi denn\u011b jsou, spolupod\u00edl\u00ed se na celku na\u0161eho sv\u011bta, zneji\u0161\u0165uj\u00ed n\u00e1m jej, \u010din\u00ed jej nesamoz\u0159ejm\u00fdm, a tedy, paradoxn\u011b, jedin\u011b mo\u017en\u00fdm, re\u00e1ln\u00fdm, skute\u010dn\u00fdm.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Tak nap\u0159\u00edklad jeden z ned\u00e1vn\u00fdch ro\u010dn\u00edk\u016f mezin\u00e1rodn\u00edho sympozia v ma\u010farsk\u00e9m Ceredu m\u011bl sjednocuj\u00edc\u00ed t\u00e9ma Odd\u011blen\u00e9 prostory \/ Separated spaces a pod\u00edleli se na n\u011bm tv\u016frci z po\u0159\u00e1daj\u00edc\u00edho Ma\u010farska, d\u00e1le z Finska, Rumunska, Slovenska a \u010cesk\u00e9 republiky. T\u00e9ma je dostate\u010dn\u011b metaforick\u00e9, ale i konkr\u00e9tn\u00ed, aby se mohlo st\u00e1t prostorem pro vyj\u00e1d\u0159en\u00ed soukrom\u00fdch, intimn\u00edch i spole\u010densk\u00fdch stav\u016f, akc\u00ed \u010di situac\u00ed. Samoz\u0159ejm\u011b by mohlo sv\u00e1d\u011bt k bezprost\u0159edn\u00ed reflexi tehdy vyhrocen\u00e9 situace uprchlick\u00e9 krize. Sucho\u017ea tak u\u010dinil s ironick\u00fdm, a\u017e sarkastick\u00fdm odstupem, mohlo by se zd\u00e1t a\u017e blasfemick\u00fdm, kdy\u017e p\u0159edstavil svou multiplikovanou sochu tradi\u010dn\u00ed evropsk\u00e9 stoj\u00edc\u00ed madony se sepjat\u00fdma rukama, le\u010d s nik\u00e1bem na hlav\u011b.<\/p>\n\n\n\n
To je jedna z lini\u00ed jeho aktu\u00e1ln\u00ed tvorby, kterou d\u00e1le rozv\u00edj\u00ed, kdy\u017e na re\u00e1ln\u00e9, materi\u00e1ln\u00ed \u00farovni kombinuje a spojuje p\u0159edm\u011bty typick\u00e9 pro r\u016fzn\u00e1 sv\u011btov\u00e1 n\u00e1bo\u017eenstv\u00ed. Tak strom \u017eivot, hebrejsky acej chajim, jsou d\u0159ev\u011bn\u00e9 v\u00e1lce s ozdobn\u00fdmi dr\u017eadly, na kter\u00fd je navinuta T\u00f3ra, tedy p\u011bt Knih Moj\u017e\u00ed\u0161ov\u00fdch Star\u00e9ho z\u00e1kona. Sucho\u017ea na n\u011b navine muslimsk\u00fd modlitebn\u00ed koberec\u2026 Tradi\u010dn\u00ed k\u0159es\u0165ansk\u00e9 klek\u00e1tko s podu\u0161kou pod lokty ur\u010den\u00e9 k soukrom\u00e9 intimn\u00ed modlitb\u011b opolstruje \u010dern\u00fdm sametem se zlat\u00fdm arabsk\u00fdm n\u00e1zvem All\u00e1hu Akbar. P\u0159echodem k druh\u00e9, paramilit\u00e1rn\u00ed \u010di pseudomilit\u00e1rn\u00ed tematick\u00e9 linii je so\u0161ka madony v nik\u00e1bu, stoj\u00edc\u00ed na zem\u011bkouli, jakoby v parodick\u00e9m a kontroverzn\u00edm inverzn\u00edm obr\u00e1cen\u00ed sekul\u00e1rn\u00ed ikony, trofeje pro mistry sv\u011bta v kopan\u00e9, kter\u00e1 od roku 1971 nahradila ukradenou Zlatou Nik\u00e9. A vlastn\u011b nestoj\u00ed, ale je horizont\u00e1ln\u011b ulo\u017eena do vojensk\u00e9 d\u0159ev\u011bn\u00e9 bedny v zelen\u00e9 barv\u011b, ur\u010den\u00e9 sp\u00ed\u0161e pro minometn\u00e9 st\u0159ely. To milit\u00e1rn\u00ed t\u00e9ma variuje i na jin\u00fdch sympozi\u00edch, nej\u010dast\u011bji zl\u00ednsk\u00e9m Panta Rhei (vojensk\u00e1 v\u00e1le\u010dn\u00e1 nos\u00edtka, jejich\u017e madla jsou osazena velk\u00fdmi r\u016f\u017eov\u00fdmi trny, jak zde nesly\u0161et ozv\u011bnu Josepha Beyuse\u2026). Na principu kontrastu a ne\u010dekan\u00fdch, provokativn\u00edch, a\u017e \u2013 jak ji\u017e \u0159e\u010deno \u2013 rouhav\u00fdch konfrontac\u00ed stav\u00ed vedle sebe a k sob\u011b sv\u011bty zcela nesourod\u00e9 \u2013 protitankov\u00e1 mina zdoben\u00e1 lidov\u00fdm ornamentem. D\u00e1rkov\u00e1 sada s ru\u010dn\u00ed \u00fato\u010dnou zbran\u00ed, ocelov\u00fdm boxerem nebo podivn\u00e1 zbra\u0148 tvo\u0159en\u00e1 \u017eulovou kostkou na d\u0159ev\u011bn\u00e9m madle. Jsme sv\u011bdky konfrontace dvou sv\u011bt\u016f, kter\u00e9 jsou ale nesourod\u00e9 jen zd\u00e1nliv\u011b, ony toti\u017e tady vedle n\u00e1s, v n\u00e1s, s n\u00e1mi denn\u011b jsou, spolupod\u00edl\u00ed se na celku na\u0161eho sv\u011bta, zneji\u0161\u0165uj\u00ed n\u00e1m jej, \u010din\u00ed jej nesamoz\u0159ejm\u00fdm, a tedy, paradoxn\u011b, jedin\u011b mo\u017en\u00fdm, re\u00e1ln\u00fdm, skute\u010dn\u00fdm.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
\n <\/a> <\/div>\n<\/div>\n\n\n Jozef Suchoz\u030ca \u2013 Portfolio 16<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Tak nap\u0159\u00edklad jeden z ned\u00e1vn\u00fdch ro\u010dn\u00edk\u016f mezin\u00e1rodn\u00edho sympozia v ma\u010farsk\u00e9m Ceredu m\u011bl sjednocuj\u00edc\u00ed t\u00e9ma Odd\u011blen\u00e9 prostory \/ Separated spaces a pod\u00edleli se na n\u011bm tv\u016frci z po\u0159\u00e1daj\u00edc\u00edho Ma\u010farska, d\u00e1le z Finska, Rumunska, Slovenska a \u010cesk\u00e9 republiky. T\u00e9ma je dostate\u010dn\u011b metaforick\u00e9, ale i konkr\u00e9tn\u00ed, aby se mohlo st\u00e1t prostorem pro vyj\u00e1d\u0159en\u00ed soukrom\u00fdch, intimn\u00edch i spole\u010densk\u00fdch stav\u016f, akc\u00ed \u010di situac\u00ed. Samoz\u0159ejm\u011b by mohlo sv\u00e1d\u011bt k bezprost\u0159edn\u00ed reflexi tehdy vyhrocen\u00e9 situace uprchlick\u00e9 krize. Sucho\u017ea tak u\u010dinil s ironick\u00fdm, a\u017e sarkastick\u00fdm odstupem, mohlo by se zd\u00e1t a\u017e blasfemick\u00fdm, kdy\u017e p\u0159edstavil svou multiplikovanou sochu tradi\u010dn\u00ed evropsk\u00e9 stoj\u00edc\u00ed madony se sepjat\u00fdma rukama, le\u010d s nik\u00e1bem na hlav\u011b.<\/p>\n\n\n\n
To je jedna z lini\u00ed jeho aktu\u00e1ln\u00ed tvorby, kterou d\u00e1le rozv\u00edj\u00ed, kdy\u017e na re\u00e1ln\u00e9, materi\u00e1ln\u00ed \u00farovni kombinuje a spojuje p\u0159edm\u011bty typick\u00e9 pro r\u016fzn\u00e1 sv\u011btov\u00e1 n\u00e1bo\u017eenstv\u00ed. Tak strom \u017eivot, hebrejsky acej chajim, jsou d\u0159ev\u011bn\u00e9 v\u00e1lce s ozdobn\u00fdmi dr\u017eadly, na kter\u00fd je navinuta T\u00f3ra, tedy p\u011bt Knih Moj\u017e\u00ed\u0161ov\u00fdch Star\u00e9ho z\u00e1kona. Sucho\u017ea na n\u011b navine muslimsk\u00fd modlitebn\u00ed koberec\u2026 Tradi\u010dn\u00ed k\u0159es\u0165ansk\u00e9 klek\u00e1tko s podu\u0161kou pod lokty ur\u010den\u00e9 k soukrom\u00e9 intimn\u00ed modlitb\u011b opolstruje \u010dern\u00fdm sametem se zlat\u00fdm arabsk\u00fdm n\u00e1zvem All\u00e1hu Akbar. P\u0159echodem k druh\u00e9, paramilit\u00e1rn\u00ed \u010di pseudomilit\u00e1rn\u00ed tematick\u00e9 linii je so\u0161ka madony v nik\u00e1bu, stoj\u00edc\u00ed na zem\u011bkouli, jakoby v parodick\u00e9m a kontroverzn\u00edm inverzn\u00edm obr\u00e1cen\u00ed sekul\u00e1rn\u00ed ikony, trofeje pro mistry sv\u011bta v kopan\u00e9, kter\u00e1 od roku 1971 nahradila ukradenou Zlatou Nik\u00e9. A vlastn\u011b nestoj\u00ed, ale je horizont\u00e1ln\u011b ulo\u017eena do vojensk\u00e9 d\u0159ev\u011bn\u00e9 bedny v zelen\u00e9 barv\u011b, ur\u010den\u00e9 sp\u00ed\u0161e pro minometn\u00e9 st\u0159ely. To milit\u00e1rn\u00ed t\u00e9ma variuje i na jin\u00fdch sympozi\u00edch, nej\u010dast\u011bji zl\u00ednsk\u00e9m Panta Rhei (vojensk\u00e1 v\u00e1le\u010dn\u00e1 nos\u00edtka, jejich\u017e madla jsou osazena velk\u00fdmi r\u016f\u017eov\u00fdmi trny, jak zde nesly\u0161et ozv\u011bnu Josepha Beyuse\u2026). Na principu kontrastu a ne\u010dekan\u00fdch, provokativn\u00edch, a\u017e \u2013 jak ji\u017e \u0159e\u010deno \u2013 rouhav\u00fdch konfrontac\u00ed stav\u00ed vedle sebe a k sob\u011b sv\u011bty zcela nesourod\u00e9 \u2013 protitankov\u00e1 mina zdoben\u00e1 lidov\u00fdm ornamentem. D\u00e1rkov\u00e1 sada s ru\u010dn\u00ed \u00fato\u010dnou zbran\u00ed, ocelov\u00fdm boxerem nebo podivn\u00e1 zbra\u0148 tvo\u0159en\u00e1 \u017eulovou kostkou na d\u0159ev\u011bn\u00e9m madle. Jsme sv\u011bdky konfrontace dvou sv\u011bt\u016f, kter\u00e9 jsou ale nesourod\u00e9 jen zd\u00e1nliv\u011b, ony toti\u017e tady vedle n\u00e1s, v n\u00e1s, s n\u00e1mi denn\u011b jsou, spolupod\u00edl\u00ed se na celku na\u0161eho sv\u011bta, zneji\u0161\u0165uj\u00ed n\u00e1m jej, \u010din\u00ed jej nesamoz\u0159ejm\u00fdm, a tedy, paradoxn\u011b, jedin\u011b mo\u017en\u00fdm, re\u00e1ln\u00fdm, skute\u010dn\u00fdm.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Tak nap\u0159\u00edklad jeden z ned\u00e1vn\u00fdch ro\u010dn\u00edk\u016f mezin\u00e1rodn\u00edho sympozia v ma\u010farsk\u00e9m Ceredu m\u011bl sjednocuj\u00edc\u00ed t\u00e9ma Odd\u011blen\u00e9 prostory \/ Separated spaces a pod\u00edleli se na n\u011bm tv\u016frci z po\u0159\u00e1daj\u00edc\u00edho Ma\u010farska, d\u00e1le z Finska, Rumunska, Slovenska a \u010cesk\u00e9 republiky. T\u00e9ma je dostate\u010dn\u011b metaforick\u00e9, ale i konkr\u00e9tn\u00ed, aby se mohlo st\u00e1t prostorem pro vyj\u00e1d\u0159en\u00ed soukrom\u00fdch, intimn\u00edch i spole\u010densk\u00fdch stav\u016f, akc\u00ed \u010di situac\u00ed. Samoz\u0159ejm\u011b by mohlo sv\u00e1d\u011bt k bezprost\u0159edn\u00ed reflexi tehdy vyhrocen\u00e9 situace uprchlick\u00e9 krize. Sucho\u017ea tak u\u010dinil s ironick\u00fdm, a\u017e sarkastick\u00fdm odstupem, mohlo by se zd\u00e1t a\u017e blasfemick\u00fdm, kdy\u017e p\u0159edstavil svou multiplikovanou sochu tradi\u010dn\u00ed evropsk\u00e9 stoj\u00edc\u00ed madony se sepjat\u00fdma rukama, le\u010d s nik\u00e1bem na hlav\u011b.<\/p>\n\n\n\n
To je jedna z lini\u00ed jeho aktu\u00e1ln\u00ed tvorby, kterou d\u00e1le rozv\u00edj\u00ed, kdy\u017e na re\u00e1ln\u00e9, materi\u00e1ln\u00ed \u00farovni kombinuje a spojuje p\u0159edm\u011bty typick\u00e9 pro r\u016fzn\u00e1 sv\u011btov\u00e1 n\u00e1bo\u017eenstv\u00ed. Tak strom \u017eivot, hebrejsky acej chajim, jsou d\u0159ev\u011bn\u00e9 v\u00e1lce s ozdobn\u00fdmi dr\u017eadly, na kter\u00fd je navinuta T\u00f3ra, tedy p\u011bt Knih Moj\u017e\u00ed\u0161ov\u00fdch Star\u00e9ho z\u00e1kona. Sucho\u017ea na n\u011b navine muslimsk\u00fd modlitebn\u00ed koberec\u2026 Tradi\u010dn\u00ed k\u0159es\u0165ansk\u00e9 klek\u00e1tko s podu\u0161kou pod lokty ur\u010den\u00e9 k soukrom\u00e9 intimn\u00ed modlitb\u011b opolstruje \u010dern\u00fdm sametem se zlat\u00fdm arabsk\u00fdm n\u00e1zvem All\u00e1hu Akbar. P\u0159echodem k druh\u00e9, paramilit\u00e1rn\u00ed \u010di pseudomilit\u00e1rn\u00ed tematick\u00e9 linii je so\u0161ka madony v nik\u00e1bu, stoj\u00edc\u00ed na zem\u011bkouli, jakoby v parodick\u00e9m a kontroverzn\u00edm inverzn\u00edm obr\u00e1cen\u00ed sekul\u00e1rn\u00ed ikony, trofeje pro mistry sv\u011bta v kopan\u00e9, kter\u00e1 od roku 1971 nahradila ukradenou Zlatou Nik\u00e9. A vlastn\u011b nestoj\u00ed, ale je horizont\u00e1ln\u011b ulo\u017eena do vojensk\u00e9 d\u0159ev\u011bn\u00e9 bedny v zelen\u00e9 barv\u011b, ur\u010den\u00e9 sp\u00ed\u0161e pro minometn\u00e9 st\u0159ely. To milit\u00e1rn\u00ed t\u00e9ma variuje i na jin\u00fdch sympozi\u00edch, nej\u010dast\u011bji zl\u00ednsk\u00e9m Panta Rhei (vojensk\u00e1 v\u00e1le\u010dn\u00e1 nos\u00edtka, jejich\u017e madla jsou osazena velk\u00fdmi r\u016f\u017eov\u00fdmi trny, jak zde nesly\u0161et ozv\u011bnu Josepha Beyuse\u2026). Na principu kontrastu a ne\u010dekan\u00fdch, provokativn\u00edch, a\u017e \u2013 jak ji\u017e \u0159e\u010deno \u2013 rouhav\u00fdch konfrontac\u00ed stav\u00ed vedle sebe a k sob\u011b sv\u011bty zcela nesourod\u00e9 \u2013 protitankov\u00e1 mina zdoben\u00e1 lidov\u00fdm ornamentem. D\u00e1rkov\u00e1 sada s ru\u010dn\u00ed \u00fato\u010dnou zbran\u00ed, ocelov\u00fdm boxerem nebo podivn\u00e1 zbra\u0148 tvo\u0159en\u00e1 \u017eulovou kostkou na d\u0159ev\u011bn\u00e9m madle. Jsme sv\u011bdky konfrontace dvou sv\u011bt\u016f, kter\u00e9 jsou ale nesourod\u00e9 jen zd\u00e1nliv\u011b, ony toti\u017e tady vedle n\u00e1s, v n\u00e1s, s n\u00e1mi denn\u011b jsou, spolupod\u00edl\u00ed se na celku na\u0161eho sv\u011bta, zneji\u0161\u0165uj\u00ed n\u00e1m jej, \u010din\u00ed jej nesamoz\u0159ejm\u00fdm, a tedy, paradoxn\u011b, jedin\u011b mo\u017en\u00fdm, re\u00e1ln\u00fdm, skute\u010dn\u00fdm.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
\n <\/a> <\/div>\n<\/div>\n\n\n Jozef Suchoz\u030ca \u2013 Portfolio 17<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Tak nap\u0159\u00edklad jeden z ned\u00e1vn\u00fdch ro\u010dn\u00edk\u016f mezin\u00e1rodn\u00edho sympozia v ma\u010farsk\u00e9m Ceredu m\u011bl sjednocuj\u00edc\u00ed t\u00e9ma Odd\u011blen\u00e9 prostory \/ Separated spaces a pod\u00edleli se na n\u011bm tv\u016frci z po\u0159\u00e1daj\u00edc\u00edho Ma\u010farska, d\u00e1le z Finska, Rumunska, Slovenska a \u010cesk\u00e9 republiky. T\u00e9ma je dostate\u010dn\u011b metaforick\u00e9, ale i konkr\u00e9tn\u00ed, aby se mohlo st\u00e1t prostorem pro vyj\u00e1d\u0159en\u00ed soukrom\u00fdch, intimn\u00edch i spole\u010densk\u00fdch stav\u016f, akc\u00ed \u010di situac\u00ed. Samoz\u0159ejm\u011b by mohlo sv\u00e1d\u011bt k bezprost\u0159edn\u00ed reflexi tehdy vyhrocen\u00e9 situace uprchlick\u00e9 krize. Sucho\u017ea tak u\u010dinil s ironick\u00fdm, a\u017e sarkastick\u00fdm odstupem, mohlo by se zd\u00e1t a\u017e blasfemick\u00fdm, kdy\u017e p\u0159edstavil svou multiplikovanou sochu tradi\u010dn\u00ed evropsk\u00e9 stoj\u00edc\u00ed madony se sepjat\u00fdma rukama, le\u010d s nik\u00e1bem na hlav\u011b.<\/p>\n\n\n\n
To je jedna z lini\u00ed jeho aktu\u00e1ln\u00ed tvorby, kterou d\u00e1le rozv\u00edj\u00ed, kdy\u017e na re\u00e1ln\u00e9, materi\u00e1ln\u00ed \u00farovni kombinuje a spojuje p\u0159edm\u011bty typick\u00e9 pro r\u016fzn\u00e1 sv\u011btov\u00e1 n\u00e1bo\u017eenstv\u00ed. Tak strom \u017eivot, hebrejsky acej chajim, jsou d\u0159ev\u011bn\u00e9 v\u00e1lce s ozdobn\u00fdmi dr\u017eadly, na kter\u00fd je navinuta T\u00f3ra, tedy p\u011bt Knih Moj\u017e\u00ed\u0161ov\u00fdch Star\u00e9ho z\u00e1kona. Sucho\u017ea na n\u011b navine muslimsk\u00fd modlitebn\u00ed koberec\u2026 Tradi\u010dn\u00ed k\u0159es\u0165ansk\u00e9 klek\u00e1tko s podu\u0161kou pod lokty ur\u010den\u00e9 k soukrom\u00e9 intimn\u00ed modlitb\u011b opolstruje \u010dern\u00fdm sametem se zlat\u00fdm arabsk\u00fdm n\u00e1zvem All\u00e1hu Akbar. P\u0159echodem k druh\u00e9, paramilit\u00e1rn\u00ed \u010di pseudomilit\u00e1rn\u00ed tematick\u00e9 linii je so\u0161ka madony v nik\u00e1bu, stoj\u00edc\u00ed na zem\u011bkouli, jakoby v parodick\u00e9m a kontroverzn\u00edm inverzn\u00edm obr\u00e1cen\u00ed sekul\u00e1rn\u00ed ikony, trofeje pro mistry sv\u011bta v kopan\u00e9, kter\u00e1 od roku 1971 nahradila ukradenou Zlatou Nik\u00e9. A vlastn\u011b nestoj\u00ed, ale je horizont\u00e1ln\u011b ulo\u017eena do vojensk\u00e9 d\u0159ev\u011bn\u00e9 bedny v zelen\u00e9 barv\u011b, ur\u010den\u00e9 sp\u00ed\u0161e pro minometn\u00e9 st\u0159ely. To milit\u00e1rn\u00ed t\u00e9ma variuje i na jin\u00fdch sympozi\u00edch, nej\u010dast\u011bji zl\u00ednsk\u00e9m Panta Rhei (vojensk\u00e1 v\u00e1le\u010dn\u00e1 nos\u00edtka, jejich\u017e madla jsou osazena velk\u00fdmi r\u016f\u017eov\u00fdmi trny, jak zde nesly\u0161et ozv\u011bnu Josepha Beyuse\u2026). Na principu kontrastu a ne\u010dekan\u00fdch, provokativn\u00edch, a\u017e \u2013 jak ji\u017e \u0159e\u010deno \u2013 rouhav\u00fdch konfrontac\u00ed stav\u00ed vedle sebe a k sob\u011b sv\u011bty zcela nesourod\u00e9 \u2013 protitankov\u00e1 mina zdoben\u00e1 lidov\u00fdm ornamentem. D\u00e1rkov\u00e1 sada s ru\u010dn\u00ed \u00fato\u010dnou zbran\u00ed, ocelov\u00fdm boxerem nebo podivn\u00e1 zbra\u0148 tvo\u0159en\u00e1 \u017eulovou kostkou na d\u0159ev\u011bn\u00e9m madle. Jsme sv\u011bdky konfrontace dvou sv\u011bt\u016f, kter\u00e9 jsou ale nesourod\u00e9 jen zd\u00e1nliv\u011b, ony toti\u017e tady vedle n\u00e1s, v n\u00e1s, s n\u00e1mi denn\u011b jsou, spolupod\u00edl\u00ed se na celku na\u0161eho sv\u011bta, zneji\u0161\u0165uj\u00ed n\u00e1m jej, \u010din\u00ed jej nesamoz\u0159ejm\u00fdm, a tedy, paradoxn\u011b, jedin\u011b mo\u017en\u00fdm, re\u00e1ln\u00fdm, skute\u010dn\u00fdm.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Tak nap\u0159\u00edklad jeden z ned\u00e1vn\u00fdch ro\u010dn\u00edk\u016f mezin\u00e1rodn\u00edho sympozia v ma\u010farsk\u00e9m Ceredu m\u011bl sjednocuj\u00edc\u00ed t\u00e9ma Odd\u011blen\u00e9 prostory \/ Separated spaces a pod\u00edleli se na n\u011bm tv\u016frci z po\u0159\u00e1daj\u00edc\u00edho Ma\u010farska, d\u00e1le z Finska, Rumunska, Slovenska a \u010cesk\u00e9 republiky. T\u00e9ma je dostate\u010dn\u011b metaforick\u00e9, ale i konkr\u00e9tn\u00ed, aby se mohlo st\u00e1t prostorem pro vyj\u00e1d\u0159en\u00ed soukrom\u00fdch, intimn\u00edch i spole\u010densk\u00fdch stav\u016f, akc\u00ed \u010di situac\u00ed. Samoz\u0159ejm\u011b by mohlo sv\u00e1d\u011bt k bezprost\u0159edn\u00ed reflexi tehdy vyhrocen\u00e9 situace uprchlick\u00e9 krize. Sucho\u017ea tak u\u010dinil s ironick\u00fdm, a\u017e sarkastick\u00fdm odstupem, mohlo by se zd\u00e1t a\u017e blasfemick\u00fdm, kdy\u017e p\u0159edstavil svou multiplikovanou sochu tradi\u010dn\u00ed evropsk\u00e9 stoj\u00edc\u00ed madony se sepjat\u00fdma rukama, le\u010d s nik\u00e1bem na hlav\u011b.<\/p>\n\n\n\n
To je jedna z lini\u00ed jeho aktu\u00e1ln\u00ed tvorby, kterou d\u00e1le rozv\u00edj\u00ed, kdy\u017e na re\u00e1ln\u00e9, materi\u00e1ln\u00ed \u00farovni kombinuje a spojuje p\u0159edm\u011bty typick\u00e9 pro r\u016fzn\u00e1 sv\u011btov\u00e1 n\u00e1bo\u017eenstv\u00ed. Tak strom \u017eivot, hebrejsky acej chajim, jsou d\u0159ev\u011bn\u00e9 v\u00e1lce s ozdobn\u00fdmi dr\u017eadly, na kter\u00fd je navinuta T\u00f3ra, tedy p\u011bt Knih Moj\u017e\u00ed\u0161ov\u00fdch Star\u00e9ho z\u00e1kona. Sucho\u017ea na n\u011b navine muslimsk\u00fd modlitebn\u00ed koberec\u2026 Tradi\u010dn\u00ed k\u0159es\u0165ansk\u00e9 klek\u00e1tko s podu\u0161kou pod lokty ur\u010den\u00e9 k soukrom\u00e9 intimn\u00ed modlitb\u011b opolstruje \u010dern\u00fdm sametem se zlat\u00fdm arabsk\u00fdm n\u00e1zvem All\u00e1hu Akbar. P\u0159echodem k druh\u00e9, paramilit\u00e1rn\u00ed \u010di pseudomilit\u00e1rn\u00ed tematick\u00e9 linii je so\u0161ka madony v nik\u00e1bu, stoj\u00edc\u00ed na zem\u011bkouli, jakoby v parodick\u00e9m a kontroverzn\u00edm inverzn\u00edm obr\u00e1cen\u00ed sekul\u00e1rn\u00ed ikony, trofeje pro mistry sv\u011bta v kopan\u00e9, kter\u00e1 od roku 1971 nahradila ukradenou Zlatou Nik\u00e9. A vlastn\u011b nestoj\u00ed, ale je horizont\u00e1ln\u011b ulo\u017eena do vojensk\u00e9 d\u0159ev\u011bn\u00e9 bedny v zelen\u00e9 barv\u011b, ur\u010den\u00e9 sp\u00ed\u0161e pro minometn\u00e9 st\u0159ely. To milit\u00e1rn\u00ed t\u00e9ma variuje i na jin\u00fdch sympozi\u00edch, nej\u010dast\u011bji zl\u00ednsk\u00e9m Panta Rhei (vojensk\u00e1 v\u00e1le\u010dn\u00e1 nos\u00edtka, jejich\u017e madla jsou osazena velk\u00fdmi r\u016f\u017eov\u00fdmi trny, jak zde nesly\u0161et ozv\u011bnu Josepha Beyuse\u2026). Na principu kontrastu a ne\u010dekan\u00fdch, provokativn\u00edch, a\u017e \u2013 jak ji\u017e \u0159e\u010deno \u2013 rouhav\u00fdch konfrontac\u00ed stav\u00ed vedle sebe a k sob\u011b sv\u011bty zcela nesourod\u00e9 \u2013 protitankov\u00e1 mina zdoben\u00e1 lidov\u00fdm ornamentem. D\u00e1rkov\u00e1 sada s ru\u010dn\u00ed \u00fato\u010dnou zbran\u00ed, ocelov\u00fdm boxerem nebo podivn\u00e1 zbra\u0148 tvo\u0159en\u00e1 \u017eulovou kostkou na d\u0159ev\u011bn\u00e9m madle. Jsme sv\u011bdky konfrontace dvou sv\u011bt\u016f, kter\u00e9 jsou ale nesourod\u00e9 jen zd\u00e1nliv\u011b, ony toti\u017e tady vedle n\u00e1s, v n\u00e1s, s n\u00e1mi denn\u011b jsou, spolupod\u00edl\u00ed se na celku na\u0161eho sv\u011bta, zneji\u0161\u0165uj\u00ed n\u00e1m jej, \u010din\u00ed jej nesamoz\u0159ejm\u00fdm, a tedy, paradoxn\u011b, jedin\u011b mo\u017en\u00fdm, re\u00e1ln\u00fdm, skute\u010dn\u00fdm.<\/p>\n\n\n
\n\n \n \n \n <\/div>\n <\/div>\n \n \n\n\n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
\n <\/a> <\/div>\n<\/div>\n\n\n Jozef Suchoz\u030ca \u2013 Portfolio 18<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n<\/div>\n <\/div>\n \n<\/div>\n<\/div>\n\n\n
Tak nap\u0159\u00edklad jeden z ned\u00e1vn\u00fdch ro\u010dn\u00edk\u016f mezin\u00e1rodn\u00edho sympozia v ma\u010farsk\u00e9m Ceredu m\u011bl sjednocuj\u00edc\u00ed t\u00e9ma Odd\u011blen\u00e9 prostory \/ Separated spaces a pod\u00edleli se na n\u011bm tv\u016frci z po\u0159\u00e1daj\u00edc\u00edho Ma\u010farska, d\u00e1le z Finska, Rumunska, Slovenska a \u010cesk\u00e9 republiky. T\u00e9ma je dostate\u010dn\u011b metaforick\u00e9, ale i konkr\u00e9tn\u00ed, aby se mohlo st\u00e1t prostorem pro vyj\u00e1d\u0159en\u00ed soukrom\u00fdch, intimn\u00edch i spole\u010densk\u00fdch stav\u016f, akc\u00ed \u010di situac\u00ed. Samoz\u0159ejm\u011b by mohlo sv\u00e1d\u011bt k bezprost\u0159edn\u00ed reflexi tehdy vyhrocen\u00e9 situace uprchlick\u00e9 krize. Sucho\u017ea tak u\u010dinil s ironick\u00fdm, a\u017e sarkastick\u00fdm odstupem, mohlo by se zd\u00e1t a\u017e blasfemick\u00fdm, kdy\u017e p\u0159edstavil svou multiplikovanou sochu tradi\u010dn\u00ed evropsk\u00e9 stoj\u00edc\u00ed madony se sepjat\u00fdma rukama, le\u010d s nik\u00e1bem na hlav\u011b.<\/p>\n\n\n\n
To je jedna z lini\u00ed jeho aktu\u00e1ln\u00ed tvorby, kterou d\u00e1le rozv\u00edj\u00ed, kdy\u017e na re\u00e1ln\u00e9, materi\u00e1ln\u00ed \u00farovni kombinuje a spojuje p\u0159edm\u011bty typick\u00e9 pro r\u016fzn\u00e1 sv\u011btov\u00e1 n\u00e1bo\u017eenstv\u00ed. Tak strom \u017eivot, hebrejsky acej chajim, jsou d\u0159ev\u011bn\u00e9 v\u00e1lce s ozdobn\u00fdmi dr\u017eadly, na kter\u00fd je navinuta T\u00f3ra, tedy p\u011bt Knih Moj\u017e\u00ed\u0161ov\u00fdch Star\u00e9ho z\u00e1kona. Sucho\u017ea na n\u011b navine muslimsk\u00fd modlitebn\u00ed koberec\u2026 Tradi\u010dn\u00ed k\u0159es\u0165ansk\u00e9 klek\u00e1tko s podu\u0161kou pod lokty ur\u010den\u00e9 k soukrom\u00e9 intimn\u00ed modlitb\u011b opolstruje \u010dern\u00fdm sametem se zlat\u00fdm arabsk\u00fdm n\u00e1zvem All\u00e1hu Akbar. P\u0159echodem k druh\u00e9, paramilit\u00e1rn\u00ed \u010di pseudomilit\u00e1rn\u00ed tematick\u00e9 linii je so\u0161ka madony v nik\u00e1bu, stoj\u00edc\u00ed na zem\u011bkouli, jakoby v parodick\u00e9m a kontroverzn\u00edm inverzn\u00edm obr\u00e1cen\u00ed sekul\u00e1rn\u00ed ikony, trofeje pro mistry sv\u011bta v kopan\u00e9, kter\u00e1 od roku 1971 nahradila ukradenou Zlatou Nik\u00e9. A vlastn\u011b nestoj\u00ed, ale je horizont\u00e1ln\u011b ulo\u017eena do vojensk\u00e9 d\u0159ev\u011bn\u00e9 bedny v zelen\u00e9 barv\u011b, ur\u010den\u00e9 sp\u00ed\u0161e pro minometn\u00e9 st\u0159ely. To milit\u00e1rn\u00ed t\u00e9ma variuje i na jin\u00fdch sympozi\u00edch, nej\u010dast\u011bji zl\u00ednsk\u00e9m Panta Rhei (vojensk\u00e1 v\u00e1le\u010dn\u00e1 nos\u00edtka, jejich\u017e madla jsou osazena velk\u00fdmi r\u016f\u017eov\u00fdmi trny, jak zde nesly\u0161et ozv\u011bnu Josepha Beyuse\u2026). Na principu kontrastu a ne\u010dekan\u00fdch, provokativn\u00edch, a\u017e \u2013 jak ji\u017e \u0159e\u010deno \u2013 rouhav\u00fdch konfrontac\u00ed stav\u00ed vedle sebe a k sob\u011b sv\u011bty zcela nesourod\u00e9 \u2013 protitankov\u00e1 mina zdoben\u00e1 lidov\u00fdm ornamentem. D\u00e1rkov\u00e1 sada s ru\u010dn\u00ed \u00fato\u010dnou zbran\u00ed, ocelov\u00fdm boxerem nebo podivn\u00e1 zbra\u0148 tvo\u0159en\u00e1 \u017eulovou kostkou na d\u0159ev\u011bn\u00e9m madle. Jsme sv\u011bdky konfrontace dvou sv\u011bt\u016f, kter\u00e9 jsou ale nesourod\u00e9 jen zd\u00e1nliv\u011b, ony toti\u017e tady vedle n\u00e1s, v n\u00e1s, s n\u00e1mi denn\u011b jsou, spolupod\u00edl\u00ed se na celku na\u0161eho sv\u011bta, zneji\u0161\u0165uj\u00ed n\u00e1m jej, \u010din\u00ed jej nesamoz\u0159ejm\u00fdm, a tedy, paradoxn\u011b, jedin\u011b mo\u017en\u00fdm, re\u00e1ln\u00fdm, skute\u010dn\u00fdm.<\/p>\n\n\n
\n <\/div>\n <\/div>\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
\n <\/a> <\/div>\n<\/div>\n\n\n Jozef Suchoz\u030ca \u2013 Portfolio 19<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n \n \n \n \n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
\n <\/a> <\/div>\n<\/div>\n\n\n Jozef Suchoz\u030ca \u2013 Portfolio 20<\/h2>\n\n <\/a> <\/div>\n<\/figcaption>\n <\/figure>\n <\/div>\n \n \n \n Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
Jozef Suchoz\u030ca \u2013 Portfolio 21<\/h3>\n <\/template>\n \n \n\n \n \n \n \n <\/a> <\/div>\n<\/div>\n\n\n
\n <\/a> <\/div>\n<\/div>\n\n