By confrontations, on 5 November 2019
For many decades Jiří Valoch has been a “living institution”. He combined different roles in his professional career: a poet, musician, visual and textual artist, art critic, theoretician and curator, artistic culture organizer, pedagogue, art collector and archive builder. He is also an exemplary figure for the “Confrontations: Sessions in East European Art History” research project in so far as he managed, between 1960 and 1990, to create and animate a vast transnational network of contacts, exchange and cooperation, not only with partners from other countries of the Eastern bloc but also from Western and Southern Europe or Latin America.
The thing that bears the greatest testimony to Valoch’s networking activities is his vast archive of art documentation, letters, exhibition catalogues and books on art. Regrettably enough, the archive – along with his art collection – is now divided and deposited in a number of places, the most important parts being kept in the Moravian Gallery in Brno, the J. H. Kocman Archive and the National Gallery in Prague. At present, one can hardly imagine an actual institution which would reintegrate Valoch’s dispersed heritage, be devoted to commemorating his multifarious achievements and take them as a reference point for its own contemporary concept, mission and programme. Yet it is exactly such an institution – or an interinstitutional cooperation project – that would be the right site to present the totality of Valoch’s transnational networking activities, at least in the form of a temporary exhibition.
During our visit to the Moravian Gallery in Brno we also had a chance to see the Jiří Valoch Archive itself. It was an unforgettable experience: a long corridor-like room with rows of book cases and card boxes filled with all kind of archival items, with a characteristic smell of old paper and a feeling of hopelessness in the face of an unorderly overabundance of research material. As we were informed by the curator of the archive, Jana Písaříková, the gallery team are indeed at the very beginning of systematic ordering and tagging of the items and researching their content. The situation reminded us about other archives of East European art that are still being discovered or made available for exploration and, more generally, about how much primary sources research is still to be performed here. Contrary to some beliefs, we are not done with it and cannot simply proceed to a next stage of synthetic and comparative analyses. Both, it seems, must be done at the same time.