Alén Diviš (1900 – 1956) was a Czech painter known for his melancholic art. Having spent much of his life abroad, often working in solitude, he remained rather unknown during his life but has had a postmortem revival in the art world. In his early 20s, Diviš became intensely focused on art, particularly with cubism. In the summer of 1926, he moved to Paris to devote himself fully to his art. In Paris, he attended lectures by František Kupka and explored cubism, expressionism, and classicism. In 1939, in reaction to the German occupation of Czechoslovakia, Diviš became increasingly political and, with other expatriates, formed the House of Czechoslovak Culture. Upon France's entry into the Second World War, Diviš and other members of the organization were arrested and charged with espionage. The reason for the arrests is unclear; perhaps their "sympathies for communism" caused suspicion, or it may have been their uncommonly celebratory reaction to the outbreak of war (which they hoped would lead to the liberation of Czechoslovakia). Whatever the reason, Diviš would spend the next six months in La Santé Prison, one of France's toughest. The sombre mood and the inscriptions and graffiti on the cell walls would inspire his later artistic vision. The charges of espionage were dropped, but Diviš would spend another year and a half in concentration and internment camps in France, Morocco, and Martinique before his eventual release.
Αλλά πάντα από την αποστα- σιοποιημένη ματιά της τέχνης
Εργα τέχνης που απεικονίζουν σκοτεινές πλευρές της ιστορίας και του ανθρώπινου ψυχισμού, όπως ωμή βία, ρατσισμό, κακοποίηση και σφαγές άλλων -ΔΕΝ ΠΡΕΠΕΙ ΝΑ ΛΟΓΟΚΡΙΝΟΝΤΑΙ!! Πρέπει να αντιμετωπίζουμε πρόσωπο με πρόσωπο την ωμότητα και να πασχίζουμε να την κατανοήσουμε με κριτικό και αποστασιοποιημένο τρόπο, αν θέλουμε να φτιάξουμε έναν καλύτερο κόσμο.
Graphics that depict dark aspects of history—such as violence, intolerance, racism, aggressive nationalism, war and atrocity, abuse of others and of the environment in general—have not been censored. We must confront such harsh images directly—and struggle to critically understand them—if we hope to ever make a better world. ocw.mit.edu