Inge Kosková

* 1940  

  • “In 1968 there was this opportunity to go to Italy, it was organised by Kroměříž. There were two buses going to Italy. There was this journal in Italy, with a picture of a tank and soldiers on the cover. The Italians loved Dubček then and they said, this is what awaits you back home. We did not believe it and laughed at it. We returned from the trip and in a day or two there were tanks. People ran about, took down traffic signs. Once I stayed late with my friends and they didn’t want to let me out because there was curfew. The printing works had instructions on how to behave when Russians arrive.”

  • “This was the nice thing about it, that the external pressure made the people of the same interest, artists for instance, to meet. We used to meet at Václav Stratil’s place, or Oldřich Šembera, we brought in our works or we sat with Václav, drew and talked, supported one another because we were not allowed to exhibit, no one really wanted us. Then, after 1990, it was no longer like it. People got scattered, or maybe we just grew older. Some people exhibited in Germany, some went to Hungary, there was not the external pressure to meet. The Divadlo hudby [Music Theatre] was also a good place to meet… and then we also met at the places where exhibitions were held.”

  • “We had art classes only in the sixth and seventh grade in Jablunkov. I commuted. We had a fine teacher, his name was Svačina, and I frequented his optional classes for a while. There was no art school at the time, anything. Just some people told me, ‘Well, you have really captured that look’ or something like than but I had no professional schooling until fourteen. At school our teacher let me draw what I wanted and I did not have to do tasks that she gave to the others. I enjoyed it.”

  • “In 1968 I still taught in Přerov. We were affected in that the headmaster asked us for approval that he would sign all of use. We didn’t protest which was not right. But otherwise we would have lost our jobs immediately. We were not courageous enough, because some people actually did it, although I don’t know whether in education. We signed on our behalf that we had no objection against the entry of the armies… I can’t exactly remember the words. Then I felt with the students that the joy and willingness to do things evaporated. As if they didn’t care at all. But perhaps this was just a feeling. As if they didn’t enjoy their work. Some of them. Not all of them. But then it settled. I stayed in Přerov until 1975.”

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    Šumperk, 09.02.2018

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In the early 1970s, motivation and joy disappeared from children

Inge, end of 70s
Inge, end of 70s
photo: archiv Pamětníka

Inge Kostková was born on January 31, 1940, in Brno into a family of mixed nationalities.  Her mother, Marie Horálková, was Czech and her father, Johann Koska, an Austrian who accepted German nationality before the war. In 1942 he joined the Wehrmacht and never returned to Czechia. In 1945 Inge, her mother and a younger sister, experienced a distressful journey with the Red Cross that transported German citizens to Germany before the advancing Red Army. Near Pilsen, however, they were seized by Soviet soldiers and were being taken to an unknown place. Inge’s mother managed to flee with her children from the transport and get to their relatives. Her father remained in Germany after the war and her mother remarried in 1949 after the divorce. In 1945 Inge was accepted to the Secondary Industrial School in Brno but had to leave due to health reasons. Having graduated of the 11-year-school in Jablunkov, she was accepted to the Faculty of Education in Olomouc, specialising in mathematics and art education. She stayed at the Faculty, Department of Art, in 1965 to 1975 she taught at the Pedagogical School in Přerov. The she worked as a graphic designer in Moravské tiskařské závody, taught at the Art School and after the revolution taught experimental drawing at the Faculty of Education in Olomouc. Outside her job she worked as a free-lancer, was a part of the unofficial culture, took part in exhibitions and maintained relations with artists who were personae non grata for the regime. She specialises in experimental drawing.