Jiři Kolář. Objetos y collages

The hybridisation and artistic semantics that characterise Kolář’s work connects with a poetic avant-garde style (Guillaume Apollinaire’s calligrammes, Dada, the play of poetic analogy in surrealism) and the notion of the surrealist collage (for which a new order in the arrangement of objects and images enables the creation of a new meaning). In this regard Jindrich Styrsky, who is also Czech, should be noted as a precedent. According to Moulin, his poems and collages that have been found are closer to the finished images of Duchamp, as illustrated by Touch breasts - goodbye money (1952) or Chop (1963): "his collages are not paintings, but rather a method for processing and analysing the image that constructs, dismantles and reconstructs the mechanisms of its own lexical and semiological variety and which functions by following a syntax which is often reversible and contradictory."

In the exhibition some of the pieces that make up the project Weekly journal, from 1982 and created in Paris, where he lives since 1980, can be seen. Likewise, his Constellations are present, pieces and objects that are completely covered with cut fragments or torn pages of books, a common note to his collages. The driving force of metaphors and allegories -as in the series Homage to Christian Morgenstern (1965)- Kolář insists on the idea of the poem within the poem (visual and object), showing its modern constructive nature and the irony on which new meanings are forged.