Seznam děl umělce Hladík Lumír

Lumir was born in a little town near the city of Prague, the capital of Czechoslovakia. After finishing high school he moved to Prague to study linguistics, economics, applied arts and design. In the 1970's he discovered the minimal and conceptual art movement and became a member of the Prague's Conceptual Artists' Group, joining Jiri Kovanda, Petr Stembera, Karel Miller and Jan Mlcoch and participated in the group's activities and exhibitions.
In 1981 Lumir and his family emigrated to Canada. In the early 1980's Lumir has been exposed to the Toronto art scene and became acquainted with the work of his compatriot, abstract painter Joseph Drapell. He also met the renowned American art critic, Clement Greenberg, the "discoverer" of Pollock, Rothko and Rauschenberg.
Lumir dedicated the next two decades to a mix of activities in the world of communication theory and strategic design.
In parallel he worked on his drawing skills and opened himself up to a new and not so new stream of influences such as paleontology, museology and anatomy. Lumir's main inspiration came from his favoured place, the Canadian wilderness.
His focus for the last decade has been drawing and creating mixed media "sculptures". These new works are combination of pencil drawings and found objects such as fur, burned tree bark, bones and textiles. He also combines mixed media and activities of living organisms such as fungi, insects or wild black bears in his new "bio-event" art.
In 2008, Lumir's "event" art has been acquired and placed into the permanent modern art collection of the National Gallery in Prague, Czech Republic.
In: http://lumir.ca/biography

Entropy; Devolution Is…evolution!
I was always disturbed by the notion of limits and boundaries. It all started with physical restrictions, as I was not allowed to travel across the iron curtain. When I was 10-14 years old, I made mental trips, while reading fiction and science fiction. I Traveled America in Jack London's books, Siberia with Dersu Uzala, and the universe with Stanislaw Lem.
I imagined, however, that I could eventually overcome this kind of limitation and see these places for myself. In many instances I did; after immigrating to Canada.
As I grew older, however, I discovered the worst limitation of them all; my mind. I sensed then, on an intuitive level, that we all live in an mental matrix, that we gave into legacy imprints, that we are using our mind to interpret the world for us, but that we eventually forgot that this machine exists. We trust it blindly. The machine can achieve incredible things, but it fails to share how it is done. It makes its own decisions and lets us know later.
I knew early on that I could make secret trips into it, but only for a price. I can enter the "13th" chamber providing I would keep my eyes shut. The little mermaid's price. Being able to dance but losing my voice.
I also realized that it might be easier to penetrate this universe via mundane, unimportant, trivial things and events. Monuments will keep their big secrets forever; too much baggage, too much history, too much attention. So I decided to open, hopefully unnoticed, secret doors of these chambers, pretending that I don't care if I spot anything of importance. Big secrets cannot be reached through the brutal force of effort. Effort has bones, spikes and protrusions. It won't slip through the safety net of the strainers of context.
In: http://lumir.ca/biography/about-1975-1981

Recent Exhibitions
2010 - Beverly Owens Project Gallery, Toronto, Canada
2009 - Beverly Owens Project Gallery, Toronto, Canada
2009 - ARTA gallery, Nuit Blanche, Toronto, Canada
2009 - Peak Gallery, Toronto, Canada, (The wall project)
2009 - The Artist Project Toronto, Canada, (third prize winner)
2008 - International Triennale of Contemporary Art, Prague, Czech Republic
2007 - Documenta 12, Kassel, Germany, (informal)
http://lumir.ca/exhibitions