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 Nikolay Karabinovych
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 Nikolay Karabinovych
 Nikolay Karabinovych
 Nikolay Karabinovych
 Nikolay Karabinovych
 Nikolay Karabinovych
 Nikolay Karabinovych
 Nikolay Karabinovych
 Nikolay Karabinovych
 Nikolay Karabinovych
 Nikolay Karabinovych
 Nikolay Karabinovych
 Nikolay Karabinovych
 
 Nikolay Karabinovych
 

28|06 – 12|08|2022
MILAN ADAMČIAK
SELF-KCIA / SELF-CTION
curated by: Daniel Grúň
in cooperation with Matej Gavula & Ján Gašparovič

hunt kastner is very pleased to present an exhibition dedicated to phono-acoustic works by Milan Adamčiak, curated by Daniel Grúň and in cooperation with the Julius Koller Society in Bratislava. The exhibition includes a spatial installation for Adamčiak’s visual, graphic and concrete music conceived by Matej Gavula, and a specially conceived sound installation inspired by the work of the Milan Adamčiak, by the Slovak artist Ján Gašparovič.
The exhibition “Self-ction” of work by the important Slovak composer, musicologist, performer and poet Milan Adamčiak (1946- 2017), focuses on the relationships between the different approaches to the (re)production of visual music in the artist’s work. In this exhibition, Adamčiak’s extensive artistic universe is presented to the public in a new curatorial model in the form of a synesthetic environment, based on a combination of sound, chromatic and haptic sensations. A wide range of distinctive authorial techniques and procedures, which Adamčiak had systematically been developing from the mid-1960s onwards, is incorporated into the associative flow of a sound environment. The aim of this installation is to draw the viewer’s attention to the starting points in natural elements and folk cultures, as well as to the sound situations played out on a sheet of paper, resulting in a specific expressiveness at the interface of scientific exactness, unorthodox spirituality and shamanic earthiness. Specific poems, graphic scores, collages, drawings and sound objects by Milan Adamčiak, open up the possibility of mental participation in processes where the artist set the basic propositions, defined the playing elements and designed the playing fields, which the recipient further develops, adapts and modifies according to their own capabilities.
Full exhibition text in Czech/Slovak & English | Kurátorský text v češtině/slovenštině a angličtině

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in the projekt_room:
NIKOLAY KARABINOVYCH
ESTERN UNION
in cooperation with Voloshyn Gallery, Kyiv

Nikolay is from Odesa. He is currently walking down the streets of Brussels, the capital of Europe, and tells me
about an exhibition he is planning for Prague. I’m in the historically cosmopolitan city of Palermo, where
cultures have always mixed. I don’t hear him very well, but looking at the Norman-Arab penetration of the
local architecture, I fully understand cultural appropriation, which Nikolay tries to outline to me through his
works. Although against the background of our phone call, a little more to the east, there is a war, we can
continue to move freely across the European area. Sometimes the hand on the imaginary geopolitical weights
of polarity shifts a little further east, sometimes more to west. At the same time, it is becoming increasingly
difficult to determine where the East begins and where the West ends, whether the Orient still exists and,
standing in opposition to it, the Occident. Or whether it is better to see it through the concept of ‘nesting
orientalism’ introduced in the 90s by Serbian theorist Milica Bakic-Hayden about possible fluid ‘orientations’,
as each culture considers its neighboring regions to the east and south to be more primitive, and therefore
there are gradations of ‘East’. So we are currently in Prague, in the middle of Central Europe (Wikipedia
actually defines Central Europe as consisting of nine nation states with Prague as its center), which we could at
least for this exhibition consider as an oasis, a mobile laboratory in which to experiment with colonial
perspectives.
Full exhibition text in Czech & English | Kurátorský text v češtině a angličtině

 

NEIGHBORHOOD BOOGIE-WOOGIE

Vodná hudba / Water Music (1970, Ensemble Comp.: Milan Adamčiak, Robert Cyprich, Jozef Revallo) in a new interpretation by Trio Romanovská Tichý Hrubý, Sunday, July 17th on the 305th anniversary of its premiere on July 17, 1717 on a barge on the River Thames at the behest of King George I, T.J. Sokol Praha Královské Vinohrady pool.

Jiří Thýn: Reversed Harmony, Atrium Žižkov, based upon Johann Sebastian Bach’s Toccata and Fugue in D minor, BWV 565, for the organ, performed by Alfred Habermann

Marie Tučková: The Ensemble of Moans, Betlémská kaple [Bethlehem Chapel]

Marie Lukáčová: Aktiva a třešně / Assets and Cherries, 2022, Vysoká škola ekonomická v Praze

Valentýna Janů: Holding Keys, staircase at the tram stop Lipanská