Jana ŽelibskáPaintings, Biography and Museum Collections

Early Life, Family and Training

Jana Želibská entered the world on May 3, 1941, in Olomouc, Czechoslovakia. Artistry was a quiet, constant presence in her household from the beginning. She was born into a family where visual expression was a shared language; her father, Ján Želibský, was a painter, and her mother, Mária Želibská, worked as a graphic artist. This environment provided a natural, if unspoken, foundation for her own developing interests.

Her formal education began in earnest when she enrolled at the Academy of Fine Art and Design in Bratislava. Between 1959 and 1966, she navigated the rigors of academic training, shaping her technical skills under the guidance of Vincent Hložník and Peter Matejka. These years were formative, as she moved through the complexities of her studies and began to find her own footing within the artistic community.

By 1965, Jana Želibská had completed her studies, graduating with a focus on graphics and book illustration. This period of training provided her with the precision and discipline that would support her later, more experimental explorations. Her early years were defined by this transition from the structured world of graphic design and illustration toward the broader, more expansive creative paths she would eventually follow.

Artistic Development and Movements

In her early years, Jana Želibská experimented with lyrical painting and prints, but she quickly moved beyond these traditional forms. As part of a progressive generation of artists in Czechoslovakia, she began to look toward international trends, finding inspiration in pop art and nouveau réalisme. This shift led her away from the canvas and toward the physical presence of the object itself. By the 1960s, she had become a pioneer in the creation of environments and objects, using mixed media and non-art materials to change how viewers interacted with a space.

Her work continued to evolve alongside the changing political and social landscape of the country. During the 1970s, her focus shifted toward action and conceptual art. She used these methods to explore the complexities of human relationships and the female body, often approaching her subjects from a proto-feminist perspective. This period was marked by a desire to disrupt the customary order of things and reveal the human side of the everyday through unexpected interventions.

As the decades progressed, her practice expanded into new territories. In the late 1980s, she worked with the postmodern object and installation, continuing to challenge the boundaries of what art could be. By the 1990s, she had embraced video art, using the medium to explore themes of movement and identity. Throughout these transitions, she remained a constant presence in the independent art scene, always searching for new ways to express the intimate and the social.

Residency and International Activity

In 1968, Želibská moved to Paris after receiving a scholarship for a residency. This period placed her in the middle of a changing Europe, as she witnessed the protests that unfolded in the city during that year. These events occurred while she was establishing her presence within the international art scene, a time when her work was beginning to move away from traditional painting and toward more immersive, experimental forms.

Her connection to France continued through significant professional engagements. She prepared a project specifically for the Musée d'Art Moderne in Paris, a move that highlighted her growing reputation outside of Czechoslovakia. Later, she was invited to exhibit her work in Paris for an exhibition titled Chuť ráje v Paříži / The Taste of Paradise.

Technique and Artistic Style

Her practice is defined by a restless movement away from the traditional canvas. While she began with painting and graphics, she quickly found herself drawn to the physical presence of objects. She moved into the creation of immersive environments, often using mixed media and non-art materials to build her worlds. In these spaces, viewers might encounter a combination of mirrors, fabric, neon, and plastics. These materials were not chosen for mere decoration but to create a specific, tactile reality. She often combined these elements into assemblages or freestanding objects that occupied the room alongside the viewer.

The core of her visual language is deeply rooted in the human form. She explored the complexities of sensibility, sexuality, and eroticism through a lens that was distinctly feminist. Rather than treating the female body as a passive subject, she used it to examine identity and intimacy. This exploration extended into the digital and temporal realms as she incorporated photography and video into her practice. By using these tools, she was able to capture movement and fleeting moments, further breaking the boundaries of what a static art object could be.

Key Works and Installations

In 1967, Želibská began moving away from traditional painting toward immersive environments. Her installation The Possibility of Exposure was a significant departure, using mixed media and non-art materials to create a space where viewers could interact with the work. This period saw her exploring the female form through various lenses. In Breasts, a breast adorned with lace and patterned fabric is shown, partially hidden behind a sheer curtain to invite a tactile, intimate engagement. Other works from this formative year include Slovak Bride, Nose I-II, and the pieces Toaleta I and Toaleta II.

As her practice evolved, she turned toward more complex environmental and object-based works. In 1969, she created Kandarya – Mahadeva, an environmental installation that drew on elements of tantric Hinduism and erotic rituals. This work featured neon-outlined bodies of female dancers and mirrors placed in place of private parts. It was a bold, provocative piece that was originally intended for the street but was restricted due to its explicit nature. Her interest in the body and its representation continued through the early 1970s with works like Silkworm in 1970 and Balet II in 1971.

• The Possibility of Exposure (1967)
• Nose I-II (1967)
• Slovak Bride (1967)
• Toaleta I (1967)
• Toaleta II (1967)
• Silkworm (1970)

Where to See the Works Today

To encounter the physical presence of Jana Želibská’s art, one can look to several major institutions that have preserved her output. In Slovakia, her works are held by the Slovak National Gallery. This collection provides a way to see how her practice evolved through different decades and mediums.

Her influence also extends into international collections. In London, her pieces are part of the collection at Tate Modern. Moving toward France, you can find her work within the Musée d'Art Moderne in Paris. These locations offer a glimpse into the reach of her experimental approach and her engagement with the shifting art scenes of the twentieth century.

Closer to her roots, the Olomouc Museum of Art also holds works by the artist. Each of these institutions maintains a piece of her history, allowing her various installations and objects to be studied in their respective settings. Whether in a contemporary gallery or a specialized museum, her presence remains visible through these established archives.