WHAT APPEALS TO YOU ABOUT THAT
I was born in 1966, so it was when I began to notice the style of the housing estates, a black Tatra 613 parked in front of the most ‘modern’ cinema, the Kosmos… The pinnacle of technology at the time was the Škoda 110R, which looked faster than it actually was… But I have to say I sensed a great deficit of quality consumer goods.
WHAT DID THAT PERIOD
CONTRIBUTE TO CZECH DESIGN?
For me, all of the seventies were a kind of little bubble in which very little was produced that was interesting on a European scale. It was a time of getting by, a time of stagnation – it’s almost impossible to talk of any progress in design. They were years defined by mediocrity. There are of course a number of exceptions in art or industrial glass design, and in graphic design. The eighties pointed to the possibility of change, a number of art and design groups were founded, for instance.
WHAT EVENTS DO YOU THINK HAD
THE GREATEST INFLUENCE ON
I think Milena Lamarová’s exhibition at the Museum of Decorative Arts, on the use of plastics in furniture, must have seemed like something from another planet.
WHAT WERE YOUR CRITERIA FOR
SELECTING INDIVIDUAL EXHIBITS?
I wanted the selection to be as objective as possible, objects that represented quality Czechoslovak exports during the years of normalisation.
IS THERE ANYTHING FROM THOSE
YEARS THAT YOU WOULD CALL
If I had to find something that was truly Czech, it would probably something that represented mediocrity, milk sold in plastic bags.
IF YOU WERE ON A DESERT ISLAND AND COULD TAKE THREE OBJECTS FROM THAT PERIOD WITH YOU, WHICH ONES WOULD THEY BE? I’d probably choose purely practical things: Botas trainers, a pistol from Česká zbrojovka, a toothbrush and a tube of Perlička toothpaste.