Prof. mgr. Vladimír Havlík

* 1959

  • "One day I was walking down Riegrova Street and I met Hana Myslivečková, who was the head of the art education department, post-revolutionary, because the students liked her a lot during the revolution, so she became the head. And she said, 'What do you do, Vladimír?' And I said, 'Nothing, I don't have a job.' 'Hey, there's going to be an interview here for a position in the art education department—sign up.' So I thought to myself, 'Okay, but for a university?' I taught at that primary art school before, if that's not presumptuous. So I was nervous about the offer. Ladislav Daněk came to visit that evening, so I told him, 'Look, I'm going to an interview tomorrow, it's terrible, but I'm so scared, they're going to interview me, I don't even know who's going to be on the committee.' And when Láďa was getting up and leaving, he said, 'Havel, don't worry, the truth will prevail,' because I had a nickname like Havlík, so they called me Havel here, before Havel was president, somehow it caught on. Well, the truth will prevail—that’s what Havel used to say… So, 'Havel, don't worry, the truth will prevail.' I'm sitting in the lobby the other day, where they invited us to the interview, and there's two of us. I'm sitting there, and there's a guy sitting next to me, he said he was going to the audition too, he was kind of taciturn, he didn't talk to me much. And the door opened and the voice said, 'Mr. Pravda [Truth in Czech, ed.] will go first,' and he got up and went in. After a quarter of an hour he left, I went in, and I won. So: back in '90, Mr. Truth didn't win. Truth was defeated by Havlík, called Havel."

  • "Then I have a story with the tile, where I got the idea of actually switching it up by cutting a square in the carpet near me in the shape of a tile. Here in the square, the Upper Square, the biggest one, I'll take that one tile from the pavement, I think it's 30 by 30, and I'll take that carpet and put that tile in my house for a while, as a kind of symbolic switch between the interior and the exterior. That all of a sudden it's like my flat was in the square, in the public space, a sample of that flat, and I had a square at home. But I got caught. That's probably where the cameras really could have been. And they said, 'Theft of socialist property.' I was taken away, it was investigated. And the other one says, 'And the asshole wants to cover it up with the carpet here.' Because when I put the Kovral carpet or whatever it's called, it looked like I was putting it there so it wouldn't be so visible. And we discussed it in the police office. And I really got them, I had such a light moment, because I was like, 'No, no. I'm studying art and Russian here, and this is such an art assignment that I just wanted to switch it out, take a picture of it, and give it back. And I have at home just - as you saw the carpet there - I have a square cut in the carpet, in my room, like that.' That got their attention, they said, 'No, that's impossible, you're lying to us, nobody would do that, cut that hole in the carpet at home.' they were realkly curious, wnet with me to Riegrova. And when they saw the hole in the carpet, they started laughing uproariously and said, 'Hey, we're not going to investigate this. Put it back there right now, the cobblestone. Or rather take the photo here.' We kept dragging the tile around with us, 'Take a picture of it here, go back in there right now and put it back.'"

  • "And as for Russian. The essential thing was that we had to do a compulsory internship and we were in Krasnodar for six months, that's near the war zones, in the south. Of course we gritted our teeth that we had to go there." "Was that a university?" " Yes, Krasnodar University. We studied Russian there, of course, we didn't have art. The important thing was that we got into the routine of life. Of course we went to restaurants, among people. We managed, because we were also exotics for them, that they took us a lot to families, to various celebrations, and so on. Of course, what was going on: naturally they were drinking, drinking that vodka, drinking all their crazy spirits. Since then, I've had this experience of a Russian soul... Some say there is no Russian soul. Like Professor Glanc wrote a book called The Russian Soul Does Not Exist, I don't agree with that, I think there is such a thing as a Russian soul. It manifests itself in the way that you're drinking, you're drinking, great friendship, everything is fine, and then it comes to the relationship with the motherland, and the same friend says, 'Hey, you don't joke about that.' Even among the intellectuals we used to see in Krasnodar, suddenly a cut and, 'If you insult my motherland, I'll kill you.'" That's where it's irrational for me, or I can say, for us Czechs, although some of them might have ended up mad because of nationalism, you can see it in politics, but I think that's just the way they do it, but the Russian has it in him. Just really does. We understood that."

  • Full recordings
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    Olomouc, 07.12.2025

    (audio)
    duration: 02:09:20
    media recorded in project Stories of the region - Central Moravia
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Havel, don’t worry, the truth will prevail

Before the drawing, 1991
Before the drawing, 1991
photo: witness´s archive

Vladimír Havlík was born on 7 February 1959 in Nové Město na Moravě and grew up in the small village of Nyklovice in the Bohemian-Moravian Highlands. He came from a family of a miner working in uranium mines and a clerk, and his childhood was influenced by the coexistence of evangelical and Catholic traditions in his family. An important role was played by his grandfather, a shoemaker, an amateur theatre performer and a strong storyteller, who awakened in him a sense of story, imagery and performative action. He spent his childhood in close contact with nature and the countryside, which later reflected in his work. He began his schooling in a one-class school, where his interest in drawing and art work soon became apparent. His friendship with Radek Horáček and a meeting with art historian Jiří Valoch were crucial, which directed him towards action and conceptual art. After grammar school he studied art education and Russian at the Pedagogical University in Olomouc, where he gradually turned to experimental art forms, happenings and actions in the landscape and urban space. The normalization environment, experiences with secret police and a stay in the Soviet Union while studying Russian shaped his critical view of power, ideology and freedom of expression. He understood his own work as a personal and social statement and a way to overcome his inner shyness and seek dialogue with people and the environment. At the time of recording in December 2025, Vladimír Havlík lived and worked in Olomouc.