Parties, sex, lights, streets, and freedom are the first things that come to mind when looking at Czech photographer Libuše Jarcovjáková’s photos. While these associations are not entirely misleading, they are rather oversimplified. The artist’s work represents not only her social life but also a significant amount of history. Her photographs serve as a record of life during the oppressive socialist regime, documenting the struggles of an artistic individual who simply wants to enjoy life, develop her skills, and capture images.
Libuše Jarcovjáková is a renowned photographer from the second half of the 20th century, known for her dynamic and hedonistic works. She began her photography journey in the 1970s, using it as a medium to capture her life and emotions. Her unique style combines the raw and imperfect with a poetic sensibility, which has evolved over the years. Currently, she is showcasing her first solo exhibition in Poland, titled “Parties.” In an interview, Libuše talks about her work, life in the socialist regime, travels, and the upcoming film “I’m Not Everything I Want to Be” which will be screened at the Millennium Docs Against Gravity festival as part of the Main Competition.
Julia Gorewska: Let’s discuss the beginnings of your career as a photographer. As you mentioned in “I’m Not Everything I Want to Be” you came from an artistic family. Do you believe that the environment and family members you grew up with influenced you to pursue photography? Are there any specific artists or photographers who inspired you? And how did you first get started with photography?
Libuše Jarcovjáková: It all came naturally to me, as I had already studied photography at the graphic school of Prague. However, the teaching style at the school was too technical for my liking, and I felt like I was in a lab rather than an art school. This made me question whether I should pursue photography as a career, as I had not been successful in school. Despite this, I decided to continue studying photography and applied to university. Unfortunately, I was not accepted due to my family’s political background. At this point, I had an idea to become a writer and decided to gather as many experiences as possible by living a rich and adventurous life. I worked in a factory for almost four years while attempting to get into university three times. Finally, I was accepted, but by this point, I had already been leading a wild and non-student life. My exam results were not great, but I managed to finish school in 1982.
JG: Would you say that you are satisfied with how things have turned out from your current perspective?
LJ: To be honest, I don’t even know why I decided to become a photographer. Both my parents were painters, and my father was very dominant and highly critical, so I had no chance to become a painter alongside him. However, growing up in a visual world made me feel naturally inclined towards expressing myself visually. Photography seemed to be the simplest solution for me to do so in my own independent way. So, I started doing more and more personal photography instead of school assignments, and I found myself enjoying it more and more. It was a simple thing for me; a way to spend my time and express myself without wondering why I was doing it.
JG: You mentioned that the prevailing political situation was causing difficulties getting into the university. The movie is not just your personal story, but also a documentation of the realities of life within the socialist system. The scene where you were compelled to show your photos to the police, in relation to the death at the T- Club, left a profound impression on me. Many artists in such circumstances would give up their creative pursuits. It makes me wonder what motivates you to persevere.
LJ: “I didn’t have much to lose because I didn’t want to have children, own a home, or have a career. I just wanted a decent job. I worked ordinary jobs such as cleaning or factory work. Thankfully, I wasn’t of interest to the secret police. Perhaps I was too unusual for them to find any use for me. I worked freely and without fear at T-club until one night that changed everything. It was then that I knew I had to leave Prague. I felt like I wasn’t growing, learning, or moving forward. I felt like I was stuck in a cycle. I was ready to leave Czechoslovakia but didn’t have the means to emigrate. Fortunately, I had connections and those close to me were able to leave multiple times.”
JG: Were there any positive aspects to the challenging social circumstances that artists faced during that time?
LJ: The first and very important thing is that we were not under too much economic pressure. Everyone was able to survive and live independently without any expectations. We enjoyed ourselves carefree, without the pressure of the communist regime. Although we were aware of how bad it was, we somehow found our island of freedom. I would even say that somehow it was simpler compared to today’s world where you need to focus on making a career.
JG: Despite the passage of many years today, the regime system is still in place in many countries and many people are struggling with similar problems. Looking back, what advice would you give to your younger self? And what advice would you offer to young artists restricted by a regime state?
LJ: It’s very simple, you have to have some passion even if you don’t have any audience and usually, you don’t have any possibility to share it. You should go your own way because it is the only thing you can control. At that time, I read a lot of books. I was a big reader, and it was still a nice possibility to get really good stuff, also from Western books. So, this is one source of power to have something. My education was mostly self-education because schools didn’t offer much, and I was a little bit different from others. I learned a lot of things by myself, and somehow, I developed my personality quite systematically. Even though I was pretty crazy, drank too much, and didn’t have healthy discipline, I had some motors that pushed me forward. I wanted to leave Czechoslovakia because it was too comfortable and too easygoing. I felt I couldn’t develop, and I wanted more challenging experiences. So, my advice is to challenge yourself despite the difficulties.
JG: Let’s talk about your exhibition “Parties”, which showcases the vibrant nightlife of Prague, Berlin, and Tokyo during the 1980s. I’m curious to know if any of these cities played a more significant role in your artistic career development, what they had in common, and where you felt the most liberated.
LJ: For my first trip I went to Japan twice. It was really hard to get permission to go there but I was lucky to be invited by my schoolmate who was married there. In between she became mad and she was in a mental hospital and I was literally on the street, but then I met some wonderful people who helped me. It was my first experience with the higher Eastern culture and I was truly focusing on being in the moment, just looking around and taking photos. I met an amazing person there, my current friend Japanese designer Katsuyuki who helped me during the second half of my stay. Then I came back to Prague and then to Berlin. I was pretty poor, spoke very little German, and didn’t understand the system, but I always had someplace where I could live. I felt free on one hand. On the other hand, I have a fear of material stuff. But you know, it has another level because it was something new, and I have learned something new every day. So again it was all about this inner work in every one of these places.
JG: It sounds very simple.
LJ: Somehow it was. You know, I just wanted to do a simple thing like go somewhere, learn something, and then come back. That was the first thing. Secondly, after the fall of the Berlin Wall and the sudden freedom in Czechia and middle Europe, there was no reason for me to stay in Berlin anymore. And most importantly, I fell in love with my partner who lived in Prague at that time, and who is currently my wife. So I had a strong motivation to come back as quickly as possible and finally settle down. I started teaching full-time at the Graphic School of Prague, and soon I became the head of the department. I was involved in work for at least 10 years. However, traveling was always very important to me because when I’m outside, I can live without autopilot and feel free.
JG: In the movie, you mentioned that the highlight of your career came when The Guardian named your exhibition in Arles as the best exhibition of 2019. Looking back at it now, how do you reflect on this achievement? And what impact did it have on your artistic journey?
LJ: This exhibition was the highlight of my international career. My first big exhibition was held at the Trade Fair Palace in the National Gallery of Prague in 1989, which was significant to me. However, our show in Arles was also fantastic.
JG: It was organised in church, wasn’t it?
LJ: Yes, it was a very large Gothic church and a beautiful and historic space. After exhibiting there, many people expected changes in my career. However, when March 2020 arrived, the COVID-19 pandemic began, and everything came to a sudden halt. But actually, it wasn’t that bad. During this time, I spent my time scanning and organizing my archives. I patiently waited for things to return to normal, and now it seems like a new wave is bringing me back to the scene in some way.
JG: The exhibition is being held among others with the photos from a new book titled “T-Club” (Untitled Publishing, 2024), which provides a unique insight into the wildlife of the iconic underground LGBTQ+ bar located in Prague during the 1980s. Can you give us a brief overview of what can be found in the book? And how does it relate to the exhibition?
LJ: The book is a collaborative work, primarily created by Lucie Černá, the curator of the current exhibition and editor of the book, and Ania Nałęcka-Milach, our excellent graphic designer from Warsaw. The book contains numerous photographs that capture the overall atmosphere of the T-club while also intentionally obscuring certain details. This was Ania’s idea, and it has been executed beautifully. It is not just a collection of documentary photos, but something softer and more reflective. I like it very much.
JG: The movie ends with the statement that you never questioned your true identity. Do you already know who you are?
LJ: I am currently having a small crisis because I realize that everything is becoming overwhelming and I don’t have any time for myself to think about things and delve deeper. Since I began teaching and leading the photography department at the University of West Bohemia in Pilsen, my schedule has become very busy. As a 72-year-old, I feel the need to reconnect with my body and spirit, but I haven’t had enough time for that.
JG: Do you have time to take pictures?
LJ: I take a lot of pictures with my iPhone, but I always try to have a camera with me wherever I go. I am constantly working on developing myself, improving my English, and working with students, which brings me a lot of joy and helps me learn new things.
