Herbert Kisza

* 1943

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  • "There was work, there was construction, and there was a law that a certain percentage of the budget had to go, depending on the importance of the building, to the art decoration. That was a fair amount of money, for theatres and things like that. They were expensive buildings, and when two or three percent went to art, it was hundreds of thousands. When the Yugoslavs started to build a hospital in Kadan, Kyselka, the chairman of the artists' union from Ústí, a communist of course, made a sculpture there for three hundred thousand, it was a metallurgist and a farmer in rubber boots. Some of it was done by designers from Karlovy Vary, and one Bělecký, the head of the design institute, must have liked me. Vlastimil Květenský, a ceramist, did the relief over three floors for about one hundred and fifty thousand, and when they had about thirty thousand left, they said who would drive from Ústí to Kadaň for that money, so they gave it to Kisza. And I made a big relief of the Birth of Venus there. Thirty thousand, that was a lot of money, you could buy a Trabant for that. But it wasn't 300,000. Under the Gottwalds the fee was a hundred percent higher, it was a decree that for committed art there was a hundred percent surcharge on the fee. I didn't have to engage. The little jobs were enough for me. The Communists from Ústí were taking the big jobs."

  • "I saw it when I saw how it was destroyed around here, how the power plants were destroying the forests in the mountains. I said to myself, I want to be there and I want to see how we can destroy a once beautiful landscape. It was all smell, it was crazy. I started painting, and that inspired me. Ecological paintings were coming out, people were hearing about it, I was having success. I had a big exhibition in Ústí nad Labem. They wanted to close it down, saying it was a provocation. Then they changed their minds, saying that I would be too famous if they closed my exhibition. So they cut it down, cut off the power under the pretext that they had to save money. The exhibition was in the Church of St. Vojtěch and it was already dark at four o'clock when people came in after work. It was hopeless. I was selling paintings in Ústí through a commission, so I had to go there twice a month. The road was terrible, they were building road number thirteen, there were detours, all mud, tractors, trucks, diggers, smog too. You couldn't even see the people waiting at the bus stop in Bilina. So I thought, "I'm glad I'm there."

  • "The main topic of my graduation thesis in painting was Life in Swaziland. The teacher assigned it to us, we couldn't choose. We had to graduate in the blue shirts of the Czechoslovak Youth Union. I didn't have a shirt at all. So we borrowed them when we went to graduation, we took them off and borrowed them. I had already finished the exam, so I took it off and I just had a jacket on my bare body. And all of a sudden they told us to get in, they told us the results. I didn't have the shirt on anymore, so I lifted up the lapels of my jacket so that you couldn't see that I didn't have anything on underneath. When we got in, they told me to adjust my jacket since I was the last one there. So I pulled down the lapels and they saw that I didn't have a shirt on. It was such a weird time."

  • Celé nahrávky
  • 1

    Kadaň, 29.11.2022

    (audio)
    délka: 02:48:47
  • 2

    Kadaň, 06.12.2022

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    délka: 02:41:45
  • 3

    Kadaň, 13.09.2023

    (audio)
    délka: 01:42:41
    nahrávka pořízena v rámci projektu Příběhy regionu - Ústecký kraj
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He was fascinated by the smoggy landscape. He used his paintings to provoke the communists

Herbert Kisza in the forest near Podobora
Herbert Kisza in the forest near Podobora
zdroj: collector archive

Herbert Kisza was born on 16 June 1943 in the village of Podobora near the Olše River on the Czech-Polish border. His father Karel Kisza was an electrician and his hobby was painting. It was from him that the witness acquired his relationship to visual art. His mother Emilie was a housewife. As a child, he perceived the intolerance between Lutherans and Catholics. At home they spoke Polish, German and later Czech. His uncle smuggled alcohol out of Poland and meat into Poland in the post-war years. In 1957, Herbert Kisza passed the entrance exam to the School of Arts and Crafts in Brno. He studied painting. He spent his student years in Brno, first in a boarding school from which he was expelled, and later in a rented apartment. In 1961 he was admitted to the Academy of Arts and Crafts in Prague. This was despite a bad report from Brno. He graduated in 1967 and became a freelance artist. In 1968, his then-girlfriend left for Paris with French friends and later emigrated to Sweden. Herbert Kisza still managed to travel through Great Britain and Scandinavia in 1968 and the following year. Then his passport was confiscated. In 1971 he married the architect Ivana Vrabcová and moved to Kadaň in the Chomutov region. There he founded a painting course at the Folk Art School. He painted pictures of landscapes devastated by industry and was fascinated by them. He considered it a kind of silent resistance against the regime. In 1991, he opened his gallery Netopýr in Kadaň. In 2023, he was still working and living in Kadaň.