Aleš Veselý (1935 – 2015) was a Czech sculptor. He was born in Cáslav. From 1952 to 1958, he studied at the Academy of Fine Arts in Prague. At the end of 1950, he was part of the art movement known as the Czech Abstraction. More recently, he worked on monumental sculptures, often connected with a specific landscape.
Aleš Veselý’s style was formed in the generation of artists who sought escape from the stereotypes set by both the ideologically dictated socialist realism and the newly discovered Modernism. They were interested in the scope of work with paint as well as sculptural material and through them, they expressed their emotions and philosophical views. They presented their work at two unofficial exhibitions, Confrontation I and Confrontation II. Being present at the two exhibitions was important for Veselý and from there, his work evolved. He participated in the Paris Biennale (1965), where he won the Critics’ Award for the statue The Chair as a Usurper. He was invited to the International Symposium of Spatial Forms in Ostrava (1967), and this was his first opportunity to work in a large-size format. His legendary statue Kaddish was born there. In connection with it he made seven three-meter-high steel sculptures (Warning Signal, Guard, Spider Tower, Hanging Burden, Executor, Testimony and Memento), some of which are now part of prestigious foreign collections. The Spider Tower was to be a preparatory variant for the statue Tower–Bell, with which Aleš Veselý wanted to enter the competition for the Terezín Memorial (1968). His statue evokes the oppressive atmosphere of the place by contrasting stability and instability, strength and frailty. The materials used, the manner of their application and the background of existential ideas all place the work of Aleš Veselý in the same context as artists of New Realism.
© 2020. All content on this blog is protected by international copyright laws All images are copyrighted © by Aleš Veselý or assignee. Apart from fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, the use of any image from this site is prohibited unless prior written permission is obtained. All images used for illustrative purposes only
Aleš Veselý’s style was formed in the generation of artists who sought escape from the stereotypes set by both the ideologically dictated socialist realism and the newly discovered Modernism. They were interested in the scope of work with paint as well as sculptural material and through them, they expressed their emotions and philosophical views. They presented their work at two unofficial exhibitions, Confrontation I and Confrontation II. Being present at the two exhibitions was important for Veselý and from there, his work evolved. He participated in the Paris Biennale (1965), where he won the Critics’ Award for the statue The Chair as a Usurper. He was invited to the International Symposium of Spatial Forms in Ostrava (1967), and this was his first opportunity to work in a large-size format. His legendary statue Kaddish was born there. In connection with it he made seven three-meter-high steel sculptures (Warning Signal, Guard, Spider Tower, Hanging Burden, Executor, Testimony and Memento), some of which are now part of prestigious foreign collections. The Spider Tower was to be a preparatory variant for the statue Tower–Bell, with which Aleš Veselý wanted to enter the competition for the Terezín Memorial (1968). His statue evokes the oppressive atmosphere of the place by contrasting stability and instability, strength and frailty. The materials used, the manner of their application and the background of existential ideas all place the work of Aleš Veselý in the same context as artists of New Realism.
© 2020. All content on this blog is protected by international copyright laws All images are copyrighted © by Aleš Veselý or assignee. Apart from fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, the use of any image from this site is prohibited unless prior written permission is obtained. All images used for illustrative purposes only
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| Aleš Veselý |
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| 1960-64, Picture Object |
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| 1963, Imprint |
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| 1963, Stigmatický objekt X |
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| 1967-68, Spider Tower |
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| 1967-69, Kaddish |
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| 1967-69, Kaddish |
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| 1979, Iron report |
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| 1980, Ed Spranger School |
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| 1982, Prostorový bod |
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| 1983, Umělcův ateliér II |
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| 1983, Umělcův ateliér III |
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| 1983, Umělcův ateliér IV |
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| 1983, Základ |
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| 1990, Balvan na spirále |
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| 1992, Klec |
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| 1992, Křehká rovnováha |
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| 1992, Nestabilní krychle II |
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| 1992, Velká brána |
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| 1993, And his Work |
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| 1993, Multiklec |
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| 1995, Hovering Rock (model) |
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| 1997, Chamber of Light |
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| 1997, Rock for One |
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| 1998, Table |
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| 1999, Messenger |
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| 2002, The Mountain of Mountains (model) |
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| 2005, Kadesh Barnea Monument (model) |
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| 2005, Mobile Babel |
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| 2008, Holocaust memorial |
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| 2008, Holocaust memorial |
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| 2009 Touches and Distances |
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| 2009, Entrance to the Law |
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| 2009, Entrance to the Law |
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| 2009, Tohu Vavohu |
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| 2015, Bez začátku, bez konce |
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| 2015, Brána nenávratna |
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| 2015, Magen David, Terezín |
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| 2015, Zákon nezvratnosti |
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